COMMENT ⊗   VALID 00012 PAGES
C REC  PAGE   DESCRIPTION
C00001 00001
C00002 00002		Some other musical indications may be entered in this  manner
C00007 00003		In cases where you wish to go  counter  to  the  normal  stem
C00012 00004
C00014 00005
C00015 00006		In  this  last  exercise you will notice that the 2 staves of
C00019 00007
C00024 00008
C00027 00009		Now to complete the work the spacing staff must  be  deleted.
C00030 00010
C00033 00011		An even more flexible way of dealing with the  repetition  of
C00037 00012	
C00038 ENDMK
C⊗;
	Some other musical indications may be entered in this  manner
which  will  become independant items. They are entered at this point
because their horizontal position will be relative to certain  notes.
The  vertical  positioning  will be automatic. All these items may be
used to put an item somewhere between two notes. Some  of  the  items
that  can be used in this manner are the standard dynamic marks: PPP,
PP, P, MP, MF, F, FF, FFF. 1.5 P/ puts a "p" half way between notes 1
and  2.  .5P/ would put it half way between the beginning of the line
and the first note. In the line on the screeen at this point, 11.5 P/
would  put  a  "p" half way between the last note (11) and the end of
the line.

	The linear crescendo and decescendo signs are indicated by C+
and  C-.  The  format  is n1 z n2/ where z is C+ or C- and n1 is left
position, in note reference units, of the symbol and n2 is the  right
position.  6 C+ 10.8/ would enter a crescendo sign starting under the
sixth note and extending to a bit before the eleventh note.

	At this point type the following; and check the results.
	1 S/1 A/1 MP/5 8 S/5 PP/6.5 C+ 9.8/10 A/ <CR>
	10 F/11 FE; <CR>

	Now the program will say "ADD BEAMS?" The same  response  may
be  made  here  as  after  the previous prompt. However an additional
response is possible if all the beams involved are  of  a  consistent
form.  For  this response type nB <cr> where n = the number of eighth
notes to be connected by each beam. In 2/4, 3/4 or 4/4 time the usual
response  would be 2B <cr>. With these time signatures it is usual to
connect by beams any rhythmic configuration of up to 2  eighth  notes
duration.  Meters  such as 6/8, 3/8 or 9/8 would use 3B <cr>. 3/16 or
6/16 would use 1.5B <cr> If there is a pick-up (or ancrusis)  at  the
begining  of  the line which begins after the usual boundry of a beam
this may be taken into account by adding  another  number  after  the
letter  "B".  This  number  will be how many notes and how many rests
(i.e. rhythmic units) are to be ignored before the automatic  beaming
process  begins.  In  the  case of a single 1/8 note pick-up to a 4/4
meter one would type 2B1 <cr>.

	When the automatic beam process is used the  stem  directions
of the notes involved will be adjusted according to the traditions of
music printing. However if SU/ or SD/ have been  used  in  the  first
step of input then the specified stem dirctions will prevail.

	If  there  are irregularities in the rhythmic groupings under
the various beams then type "Y" to the "ADD BEAMS ?" prompt. In  this
case  pairs  of numbers followed by a slash are expected. The numbers
here will be the note reference numbers. These will show the begining
and  ending  note of each beam. (Notice that rests are ignored here.)
In regard to the example on the screen one could  type  5  8/10  11/;
<cr>.  (In  this  particular  case  it would be the same as typing 2B
earlier.)

	In cases where you wish to go  counter  to  the  normal  stem
direction the second of each pair of numbers will be changed. To make
all the stems go up in a particular group of beamed notes add 100  to
the  second number of the pair. To make the stems go down, add 200 or
simply make the second number negative.

	15 118/ would beam four notes with stems up, no  matter  what
their position on the staff. 15 218/ or 15 -18/ would ensure that the
beams go down.

	Sometimes numbers  over  the  beams  indicating  triplets  or
quintuplets,  etc.,  are  desired.  These  numbers  should be entered
following a decimal point in the first number of a pair. To  add  the
triplet number, 1.3 3/. For a quintuplet, 6.5 10/.

	Continuing  with the example on the screen, type 2B <cr>. You
will see now that the rhythmic tails have disappeared wherever a beam
has  been put in. The note stems have been adjusted to meet the beams
correctly.

	Lastly you will be asked, "ADD SLURS?" Type  "Y"  or  "N"  to
this. When slurs are added a format similar to that for beams will be
used. The first and last numbers of each pair will be  the  beginning
and  ending  points, in note reference units, for each slur. Normally
the direction of the "dip", or curve of the slur will  be  determined
by  the  stem  direction of the first note involved. If the last note
has an opposite stem direction then  the  vertical  position  of  the
right  end of the slur will be just beyond the end of the stem. Slurs
may be made to curve counter to the normal direction in the same  way
that beams were controlled. Add 100 to the second number of a pair to
make the slur curve upward. Add 200, or use  a  negative  number,  to
make a downward curve.

	The  amount  of curvature will depend on the configuration of
the notes between  the  end  points.  In  extreme  situations  it  is
probable  that the results of these automatic procedures will have to
be edited.

	To have a slur come from before the first note of a line type
-1  as  the first number of a pair. To have a slur go beyond the last
note type 99 as the second number of a pair. When  two  chords,  with
the  same  notes  are  to  be tied together, one pair of numbers will
cause all the ties that are necessary to be drawn.

	The SLUR section may be used to put  numbered  brackets  over
notes  (to show triplet groups, etc.) This is done by adding a number
(only one digit) after the decimal point of the  first  number  of  a
pair.  Thus  to put a bracketed 3 over notes 7 to 9, type 7.3 9/. The
direction of the bracket may be controlled by changes in  the  second
number, exactly as if it were a slur or a beam.


	To complete the example on the screen type:
	1 2/3 -4/5 9/10 111; <cr>

	Now  the program will exit from SCORE mode and will say "TYPE
FOR ITEM..." The item number is considerably higher than  the  number
of notes might indicate. This is because many of the other objects on
the screen, beams, slurs, etc., are independant items. At this  point
you  may  want  to edit the line, especially the slurs, however it is
better to first gain more experience in typing in complete  lines  of
music.  Try  the  following  examples and study the results until you
grasp the connections between what is typed and what appears  on  the
display.  In  each  case  start  by  typing <CALL> R MS <cr> to get a
"clean" copy of the program.

	Each line ends with <cr>. Comments are  in  brackets.  (Don't
type them.) The prompts are in parentheses.

Exercise 1)

IN 3 0 0 1.5

TR/T3,4/C4/D/E/F/ FS/A/M/G/A/B/M/C5/MD;

1	[For "POS1,POS2,(SPC)" the trailing zeros need not be typed.]

S////Q./E/H/E//H.;

N

2B

Y

1 4/5 6/8 9;

Exercise 2)

IN 2 0 -10 .9

M/BA/G2//A/B//C3/M/D/A/AF/G/FN/EF/M;

100 190

4/8//4/8//4/16////2;

Y

1 A/2 3S/4 A/5 6S/1 F/7 A/8 C-11.3/12 P/12 T;

2B

Y

8 11;


Exercise 3)

8 1

8

IN

BA/K1S/T2 4/PD3/M2/G/B:G/A:F/G:E/M2/A:F:D/M2/D2/F/A/D/F/D/M2/
A3:G:E:CS/M2;

1

E/Q/T///2/S////E//E.;

N

2B1

Y

3.3 5/7 8;

IN 1

TR/K1S/T2 4/R/M/R/PB4/G/M/R/C/B/A/G/M/F/R/F:A/M/E:A/M;

1

8///4/8//12///Q/E//8.;

Y

.6 MF;

Y

4.3 6;

N

	In  this  last  exercise you will notice that the 2 staves of
music line up perfectly. This is because each has  exactly  the  same
total of rhythmic values as well as the same number and kind of other
objects, such as bar lines. If even one bar line on the  upper  staff
were  omitted the total alignment would be disturbed. To take care of
this problem it is possible to designate any particular staff as  the
basis  for spacing on all other staves to be entered. This is done by
typing SP n <cr>, where n is the staff number which will  be  refered
to  for  the  spacing  on other staves. In the last exercise, if SP 0
<cr> had been typed, either before the first IN, or before the second
IN,  then  the  bar  lines on the upper staff could have been omitted
with no ill effect.

	When "SP" has been used an error  message  will  appear  when
there  is  a mismatch between the total of the rhythmic values in the
spacing staff and the total in a newly typed  staff.  It  is  obvious
that  the  program  will  not  be able to figure out where to put the
notes if the totals are different. There can be, however, differences
in  the numbers of clefs or bar lines, etc., because, while they take
up a certain amount of room  in  the  spacing  staff,  they  have  no
rhythmic  value attached to them. If there are differences with these
other items careful proof reading is suggested  since  you  may  find
some  things in unexpected places, especially if you have typed extra
bar lines.

	In general it is best to enter the lowest one of any brace of
staves first. This is because bar lines that cover several staves are
always drawn from a given staff upward. Then,  using  "SP",  the  bar
lines  can  be ignored or not for the upper staves. The next, 3-staff
exercise demonstrates this.
	(Be sure to start with a fresh version of MS.)

Exercise 4)

SP 1

IN 1 0 0 .8

M3/BA/T3 4/PA2/B/C/M3/D/F/D/M3/E/M3;

0 100

Q/// ///H.;

G

IN 2 0 0 .8

AL/T3 4/E3/F/A/ GS;

H./Q/H/H.;	[There is no prompt now re. POS1,POS2... because 
		 spacing must follow staff 1.]
G

IN 3 0 0 .8

TR/T3 4/C4/E/D/F/E/B3;

H/Q/H/Q//H;

G


	All of the exercises up to now have spaced all notes exactly according
to their rhythmic values. A half note took up twice as much space as a quarter.
A sixteenth note took up 1/4 as much space as a quarter note. However in the
traditions of music printing this exact equivalence does not hold, except in the
cases of contrapuntal voices with different rhythmic values. As a general rule
there is a sliding scale of spacing values applied to the different rhythms on
a single musical line. In multi-voice music it is the smallest value found at
any given time which will determine the spacing.

	One method of dealing with this is to assign an arbitrary space value
to the smallest unit, say a sixteenth note, found on the line. Then, perhaps,
the eighth note would use two units, the quarter note three units, the half
note four units, etc. More units, or partial units are added for accidentals
and other things which may add to the space requirements.  This problem is
dealt with in the MS program by means of what is called the psuedo-Fibonacci
(PFS) spacing system. This does not produce results which rigidly follow the
above-mentioned unit system but in most cases the results do not appear very
different to the eye.

	To envoke the PFS system, type the number one as the third number after
the prompt, "POS1, POS2,(SPC)". To see the difference between exact rhythmic
spacing and the PFS system try the following exercise. (Get a fresh copy of MS.)

IN 4
M/F4//// / //M/F////M/F////M;
0 0 0 [<cr> alone here would be the same as 0 0 0 <cr>]
Q//// //// ///; [The 2nd 0 becomes 200]
G

IN 3
M/F4//// / //M/F/////M/F/M;
0 0 0
S////H/E// Q./E/E./S/Q/ W;
N
2B
N

IN 2
M/F4//// / //M/F/////M/F/M;
0 0 1 [now the 1st 2 zeros must be typed sp the program will read the 1 as the
	3rd number]
S////H/E// Q./E/E./S/Q/ W;
N
2B
N

	You will see that the middle line of rhythms is spaced exactly in
coordination with the equally spaced quarters of the top line. In bottom line
all the sixteenths have the same amount of space but four of them occupy more
space than the first quarter of the top line. The most dramatic difference is
in the spave occupied by the whole notes on the two botton lines. It should be
noted that in the top line, since all the rhythmic values are the same, it would
not make any difference if the PFS system were applied.

	In most music the PFS system should be used at all times. However with
multi-staff music certain problems will arise. It is very rare that any one
voice will have all the smallest time values to be found. More often the small
values are found first in one voice, then anotherm and then another, etc.


	(If you must make use of the page layout program you will not have to
concern yourself with these problems. In that program, just so long as the
various rhythms are lined up properly, all the spacing is automatically
reconstituted according to the PSF system. Preparing lines for eventual
processing by the page layout program will be discussed in a later chapter.)

	The method of dealing with this problem to be discribed must be used
when creating large scores, where no more than one brace of staves can appear
on a single page, or any time when the page layout program is not going to be
used to rearrange the spacing. The first thing that must be done is to create a
dummy staff, one that will not appear in the final printing, which will contain
a line of notes, bars, clefs, etc., which represents the worst possible
conditions of crowding at every point along the line. When this is entered, it
will serve as a guide for all subsequent staves to be filled. This dummy, or
spacing staff will have its contents arranged in such a way as to take advantage
of the spave available. After all parts in a given group of staves are complete,
the spacing staff will be deleted leaving only the actual staves to be printed.
In the next exercise the first staff entered must be the spacing staff. It is
usually easy to deside at sight, without much study, what rhythms must be used.
The particular pitches and clefs used are of noo importance on this line.

Exercise 5

SP 4

IN 4

M/TR/T4 4/F4//// // ///M/F/ // /TR/F/ //M/F///M;

0 0 1

S//// Q// T/// Q/ E//E./S/E// Q//H;

G

IN 0

M3/BA/T4 4/F3/// /TR/F4//M3/F///BA/F3//M3/F/M3;

N

2B

N

IN 1

AL/T4 4/A3// // /;

2//2./Q/2/;

G

IN 2

TR/T4 4/C4/ /// // // //;

2./T///Q/2/E//Q//2;

N

Y

2.3 4/7 8;

Y

6 7;

	Now to complete the work the spacing staff must  be  deleted.
This could be done by stepping through the items deleting them one by
one.   However it is much faster to  use  one  of  the  "group  edit"
commands.    "DEL"  is  one  of a set of commands that can be used to
modify a whole group of items at one time.    All  the  "group  edit"
commands will be described later.

	Type DEL <cr>

	The program will respond with the prompt,

	"STAFF NUM,POS1,POS2,(CODE NUM)"

	If  only  a staff number is typed then every item having that
number in P2 will be deleted. The deletion can be selective according
to  the  horizontal  position limits given and/or the particular code
number given. If 4 0 0 1 were typed (the second zero being  taken  as
the  same  as 200) only the notes (code number 1) on staff four would
be deleted.

	So at this point type 4 <cr> to complete the exercise.

	The next exercise will also use a composite for  the  spacing
staff  but now the significant staff will include two separate voices
and various points.

Exercise 6)

SP 4

IN 4 0 0 .9

TR/F4//// ///M/ F/ // //M/F/ /// / //M/F//M;

1 0 1

S//// Q/// /E//Q// /T///Q/E//H/;

G

IN 2 0 0 .9

TR/SU/PC5/E/D/C/B/A/M/G/A/B/C/D/M/E/F/D/B/RU/M/E4:C5/RU/MD;

S////2/Q/ E//Q// /E//Q//2/;

N

2B

N

IN 2	[Other parameters  not  needed  since  staff  2  now  already
exists.]

SD/E4/C/E/F/FS/RI//RD/AF/F/G/F/RI;

T///Q/2/W/Q/T///Q./E/W;

N

2B

N


	Numeric indications for the triplets in the lower voice can be added
later. The invisible rests (RI) are needed to make the lower voice have the
same total rhythmic value as the upper voice. The two invisible rests in a row
are used to avoid confusion. A single RI could have been used. Then the 
rhythmic input for that point would have been /1,4/, that is the total duration
for the invisible rest would be a whole note value plus a quarter. This form of
rhythmic input is useful only with invisible rests.

	Now delete the spacing staff.

	DE <cr>
	4 <cr>

	Before the next exercise a little more will be said about the input of
notes and rhythms. Most music has a great deal of repetition of various small
units of rhythms or pitches. You have already seen how the consecutive slashes
can be used to repeat single notes or rhythms. If there are more than 4 or 5 of
the same thing in a row, the repetitions can be shown by using an "X" followed
by a number indicating how many repetitions there will be. FSX8/ means there
will be 8 consecutive F sharps. 16X8/QX7/ means there will be 8 sixteenth notes
and then 7 quarter notes. If a varied group of notes or rhythms is to be
repeated use the format REP n/ where n = the number of input units to be
repeated. For example C4/D/E/D/REP 4/ would be equivalent to typing 
C4/D/E/D/C/D/E/D/. You can also type REP n t/ where t = the total number of
times the last n units will appear. Thus F4/G/AF/REP 3 4/ will print the phrase
F-G-Ab a total of four times. (NOT! four more times after the 1st time.) This
same system can be used with rhythmic input.

	An even more flexible way of dealing with the  repetition  of
varied strings of notes or rhythms is to use the "motivic" feature of
SCORE input.  Any string of notes or rhythms can be designated  as  a
"motive"  by  typing  a letter, followed by a left parenthesis at the
beginning of the string and putting a right parenthesis at the end of
the  string.   After  this is done, the entire string can be repeated
anywhere else by typing only  the  "at"  sign  (@)  followed  by  the
identifying  letter.   Up to  26  motives can exist at once.  After a
motive is defined it can be used in any line on the screen.   Motives
can  also  be  "saved"  for  later  use on other pages.  This will be
explained in the section on saving your input work.   Here  are  some
examples of motives.

A(C4/E/D/F)/G/B3/@A/E/G/@A/C;
		 ↑      ↑

	The string C-E-D-F has been defined  as  motive  A.  It  will
appear three  times  in this line.   Each time the motive is recalled
the octave numbers are reset.  Thus the E/, appearing after @A/, will
be E4/ because the octave number in motive A is 4.

	Two or more motives may be combined to  form  a  new,  longer
motive.

G(8/16/)/R/(8//4)/S(@Q/@R)/@R/@Q/@S;
		   *↑  ↑   ↑  ↑  ↑

	The  first  motive,  Q,  is  made  up  of  an  eighth and two
sixteenths. At "*" motive S is formed from the contents of both Q and
R.

	With notes, a motive may be transposed visually any number of note
level units by typing a number after the identifying letter. The word
"visually" is used here because this does not cause transposition in musical
terms but rather the sequence of notes is merely shifted to some different
level on the staff. Any accidentals involved will remain exactly the same.

Z(C4/D/EF/C)/@Z3/@Z-1;
	    *↑   ↑

	At "*" the notes of the motive will appear up 3 levels from the
original, i.e. F/G/AF/F/. Next the motive will shift down one unit from the
original, giving B3/C4/DF/B3. The musical intervals here would be quite
different.

	With rhythms the number after the letter is used to indicate
augmentation or diminution of the rhythmic values.

H(Q/E//Q)/@H.5/@H2;
	 *↑   **↑

	At "*" we will have the rhythmic values cut in half, i.e. 8/16//8/.
Then at "**" the values are doubled in duration to 2/4//2/.