00100		Some other musical indications may be entered in this  manner
00200	which  will  become independant items. They are entered at this point
00300	because their horizontal position will be relative to certain  notes.
00400	The  vertical  positioning  will be automatic. All these items may be
00500	used to put an item somewhere between two notes. Some  of  the  items
00600	that  can be used in this manner are the standard dynamic marks: PPP,
00700	PP, P, MP, MF, F, FF, FFF. 1.5 P/ puts a "p" half way between notes 1
00800	and  2.  .5P/ would put it half way between the beginning of the line
00900	and the first note. In the line on the screeen at this point, 11.5 P/
01000	would  put  a  "p" half way between the last note (11) and the end of
01100	the line.
01200	
01300		The linear crescendo and decescendo signs are indicated by C+
01400	and  C-.  The  format  is n1 z n2/ where z is C+ or C- and n1 is left
01500	position, in note reference units, of the symbol and n2 is the  right
01600	position.  6 C+ 10.8/ would enter a crescendo sign starting under the
01700	sixth note and extending to a bit before the eleventh note.
01800	
01900		At this point type the following; and check the results.
02000		1 S/1 A/1 MP/5 8 S/5 PP/6.5 C+ 9.8/10 A/ <CR>
02100		10 F/11 FE; <CR>
02200	
02300		Now the program will say "ADD BEAMS?" The same  response  may
02400	be  made  here  as  after  the previous prompt. However an additional
02500	response is possible if all the beams involved are  of  a  consistent
02600	form.  For  this response type nB <cr> where n = the number of eighth
02700	notes to be connected by each beam. In 2/4, 3/4 or 4/4 time the usual
02800	response  would be 2B <cr>. With these time signatures it is usual to
02900	connect by beams any rhythmic configuration of up to 2  eighth  notes
03000	duration.  Meters  such as 6/8, 3/8 or 9/8 would use 3B <cr>. 3/16 or
03100	6/16 would use 1.5B <cr> If there is a pick-up (or ancrusis)  at  the
03200	begining  of  the line which begins after the usual boundry of a beam
03300	this may be taken into account by adding  another  number  after  the
03400	letter  "B".  This  number  will be how many notes and how many rests
03500	(i.e. rhythmic units) are to be ignored before the automatic  beaming
03600	process  begins.  In  the  case of a single 1/8 note pick-up to a 4/4
03700	meter one would type 2B1 <cr>.
03800	
03900		When the automatic beam process is used the  stem  directions
04000	of the notes involved will be adjusted according to the traditions of
04100	music printing. However if SU/ or SD/ have been  used  in  the  first
04200	step of input then the specified stem dirctions will prevail.
04300	
04400		If  there  are irregularities in the rhythmic groupings under
04500	the various beams then type "Y" to the "ADD BEAMS ?" prompt. In  this
04600	case  pairs  of numbers followed by a slash are expected. The numbers
04700	here will be the note reference numbers. These will show the begining
04800	and  ending  note of each beam. (Notice that rests are ignored here.)
04900	In regard to the example on the screen one could  type  5  8/10  11/;
05000	<cr>.  (In  this  particular  case  it would be the same as typing 2B
05100	earlier.)
05200	
     

00100		In cases where you wish to go  counter  to  the  normal  stem
00200	direction the second of each pair of numbers will be changed. To make
00300	all the stems go up in a particular group of beamed notes add 100  to
00400	the  second number of the pair. To make the stems go down, add 200 or
00500	simply make the second number negative.
00600	
00700		15 118/ would beam four notes with stems up, no  matter  what
00800	their position on the staff. 15 218/ or 15 -18/ would ensure that the
00900	beams go down.
01000	
01100		Sometimes numbers  over  the  beams  indicating  triplets  or
01200	quintuplets,  etc.,  are  desired.  These  numbers  should be entered
01300	following a decimal point in the first number of a pair. To  add  the
01400	triplet number, 1.3 3/. For a quintuplet, 6.5 10/.
01500	
01600		Continuing  with the example on the screen, type 2B <cr>. You
01700	will see now that the rhythmic tails have disappeared wherever a beam
01800	has  been put in. The note stems have been adjusted to meet the beams
01900	correctly.
02000	
02100		Lastly you will be asked, "ADD SLURS?" Type  "Y"  or  "N"  to
02200	this. When slurs are added a format similar to that for beams will be
02300	used. The first and last numbers of each pair will be  the  beginning
02400	and  ending  points, in note reference units, for each slur. Normally
02500	the direction of the "dip", or curve of the slur will  be  determined
02600	by  the  stem  direction of the first note involved. If the last note
02700	has an opposite stem direction then  the  vertical  position  of  the
02800	right  end of the slur will be just beyond the end of the stem. Slurs
02900	may be made to curve counter to the normal direction in the same  way
03000	that beams were controlled. Add 100 to the second number of a pair to
03100	make the slur curve upward. Add 200, or use  a  negative  number,  to
03200	make a downward curve.
03300	
03400		The  amount  of curvature will depend on the configuration of
03500	the notes between  the  end  points.  In  extreme  situations  it  is
03600	probable  that the results of these automatic procedures will have to
03700	be edited.
03800	
03900		To have a slur come from before the first note of a line type
04000	-1  as  the first number of a pair. To have a slur go beyond the last
04100	note type 99 as the second number of a pair. When  two  chords,  with
04200	the  same  notes  are  to  be tied together, one pair of numbers will
04300	cause all the ties that are necessary to be drawn.
04400	
04500		The SLUR section may be used to put  numbered  brackets  over
04600	notes  (to show triplet groups, etc.) This is done by adding a number
04700	(only one digit) after the decimal point of the  first  number  of  a
04800	pair.  Thus  to put a bracketed 3 over notes 7 to 9, type 7.3 9/. The
04900	direction of the bracket may be controlled by changes in  the  second
05000	number, exactly as if it were a slur or a beam.
05100	
     

00100	
00200		To complete the example on the screen type:
00300		1 2/3 -4/5 9/10 111; <cr>
00400	
00500		Now  the program will exit from SCORE mode and will say "TYPE
00600	FOR ITEM..." The item number is considerably higher than  the  number
00700	of notes might indicate. This is because many of the other objects on
00800	the screen, beams, slurs, etc., are independant items. At this  point
00900	you  may  want  to edit the line, especially the slurs, however it is
01000	better to first gain more experience in typing in complete  lines  of
01100	music.  Try  the  following  examples and study the results until you
01200	grasp the connections between what is typed and what appears  on  the
01300	display.  In  each  case  start  by  typing <CALL> R MS <cr> to get a
01400	"clean" copy of the program.
01500	
01600		Each line ends with <cr>. Comments are  in  brackets.  (Don't
01700	type them.) The prompts are in parentheses.
01800	
01900	Exercise 1)
02000	
02100	IN 3 0 0 1.5
02200	
02300	TR/T3,4/C4/D/E/F/ FS/A/M/G/A/B/M/C5/MD;
02400	
02500	1	[For "POS1,POS2,(SPC)" the trailing zeros need not be typed.]
02600	
02700	S////Q./E/H/E//H.;
02800	
02900	N
03000	
03100	2B
03200	
03300	Y
03400	
03500	1 4/5 6/8 9;
03600	
03700	Exercise 2)
03800	
03900	IN 2 0 -10 .9
04000	
04100	M/BA/G2//A/B//C3/M/D/A/AF/G/FN/EF/M;
04200	
04300	100 190
04400	
04500	4/8//4/8//4/16////2;
04600	
04700	Y
04800	
04900	1 A/2 3S/4 A/5 6S/1 F/7 A/8 C-11.3/12 P/12 T;
05000	
05100	2B
05200	
05300	Y
05400	
05500	8 11;
05600	
     

00100	
00200	Exercise 3)
00300	
00400	8 1
00500	
00600	8
00700	
00800	IN
00900	
01000	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/
01050	A3:G:E:CS/M2;
01100	
01200	1
01300	
01400	E/Q/T///2/S////E//E.;
01500	
01600	N
01700	
01800	2B1
01900	
02000	Y
02100	
02200	3.3 5/7 8;
02300	
02400	IN 1
02500	
02600	TR/K1S/T2 4/R/M/R/PB4/G/M/R/C/B/A/G/M/F/R/F:A/M/E:A/M;
02700	
02800	1
02900	
03000	8///4/8//12///Q/E//8.;
03100	
03200	Y
03300	
03400	.6 MF;
03500	
03600	Y
03700	
03800	4.3 6;
03900	
04000	N
04100	
     

00100		In  this  last  exercise you will notice that the 2 staves of
00200	music line up perfectly. This is because each has  exactly  the  same
00300	total of rhythmic values as well as the same number and kind of other
00400	objects, such as bar lines. If even one bar line on the  upper  staff
00500	were  omitted the total alignment would be disturbed. To take care of
00600	this problem it is possible to designate any particular staff as  the
00700	basis  for spacing on all other staves to be entered. This is done by
00800	typing SP n <cr>, where n is the staff number which will  be  refered
00900	to  for  the  spacing  on other staves. In the last exercise, if SP 0
01000	<cr> had been typed, either before the first IN, or before the second
01100	IN,  then  the  bar  lines on the upper staff could have been omitted
01200	with no ill effect.
01300	
01400		When "SP" has been used an error  message  will  appear  when
01500	there  is  a mismatch between the total of the rhythmic values in the
01600	spacing staff and the total in a newly typed  staff.  It  is  obvious
01700	that  the  program  will  not  be able to figure out where to put the
01800	notes if the totals are different. There can be, however, differences
01900	in  the numbers of clefs or bar lines, etc., because, while they take
02000	up a certain amount of room  in  the  spacing  staff,  they  have  no
02100	rhythmic  value attached to them. If there are differences with these
02200	other items careful proof reading is suggested  since  you  may  find
02300	some  things in unexpected places, especially if you have typed extra
02400	bar lines.
02500	
02600		In general it is best to enter the lowest one of any brace of
02700	staves first. This is because bar lines that cover several staves are
02800	always drawn from a given staff upward. Then,  using  "SP",  the  bar
02900	lines  can  be ignored or not for the upper staves. The next, 3-staff
03000	exercise demonstrates this.
03100		(Be sure to start with a fresh version of MS.)
03200	
03300	Exercise 4)
03400	
03500	SP 1
03600	
03700	IN 1 0 0 .8
03800	
03900	M3/BA/T3 4/PA2/B/C/M3/D/F/D/M3/E/M3;
04000	
04100	0 100
04200	
04300	Q/// ///H.;
04400	
04500	G
04600	
04700	IN 2 0 0 .8
04800	
04900	AL/T3 4/E3/F/A/ GS;
05000	
05100	H./Q/H/H.;	[There is no prompt now re. POS1,POS2... because 
05150			 spacing must follow staff 1.]
05300	G
05400	
05500	IN 3 0 0 .8
05600	
05700	TR/T3 4/C4/E/D/F/E/B3;
05800	
05900	H/Q/H/Q//H;
06000	
06100	G
06200	
     

00100	
00200		All of the exercises up to now have spaced all notes exactly according
00300	to their rhythmic values. A half note took up twice as much space as a quarter.
00400	A sixteenth note took up 1/4 as much space as a quarter note. However in the
00500	traditions of music printing this exact equivalence does not hold, except in the
00600	cases of contrapuntal voices with different rhythmic values. As a general rule
00700	there is a sliding scale of spacing values applied to the different rhythms on
00800	a single musical line. In multi-voice music it is the smallest value found at
00900	any given time which will determine the spacing.
01000	
01100		One method of dealing with this is to assign an arbitrary space value
01200	to the smallest unit, say a sixteenth note, found on the line. Then, perhaps,
01300	the eighth note would use two units, the quarter note three units, the half
01400	note four units, etc. More units, or partial units are added for accidentals
01500	and other things which may add to the space requirements.  This problem is
01600	dealt with in the MS program by means of what is called the psuedo-Fibonacci
01700	(PFS) spacing system. This does not produce results which rigidly follow the
01800	above-mentioned unit system but in most cases the results do not appear very
01900	different to the eye.
02000	
02100		To envoke the PFS system, type the number one as the third number after
02200	the prompt, "POS1, POS2,(SPC)". To see the difference between exact rhythmic
02300	spacing and the PFS system try the following exercise. (Get a fresh copy of MS.)
02400	
02500	IN 4
02600	M/F4//// / //M/F////M/F////M;
02700	0 0 0 [<cr> alone here would be the same as 0 0 0 <cr>]
02800	Q//// //// ///; [The 2nd 0 becomes 200]
02900	G
03000	
03100	IN 3
03200	M/F4//// / //M/F/////M/F/M;
03300	0 0 0
03400	S////H/E// Q./E/E./S/Q/ W;
03500	N
03600	2B
03700	N
03800	
03900	IN 2
04000	M/F4//// / //M/F/////M/F/M;
04100	0 0 1 [now the 1st 2 zeros must be typed sp the program will read the 1 as the
04200		3rd number]
04300	S////H/E// Q./E/E./S/Q/ W;
04400	N
04500	2B
04600	N
04700	
04800		You will see that the middle line of rhythms is spaced exactly in
04900	coordination with the equally spaced quarters of the top line. In bottom line
05000	all the sixteenths have the same amount of space but four of them occupy more
05100	space than the first quarter of the top line. The most dramatic difference is
05200	in the spave occupied by the whole notes on the two botton lines. It should be
05300	noted that in the top line, since all the rhythmic values are the same, it would
05400	not make any difference if the PFS system were applied.
05500	
05600		In most music the PFS system should be used at all times. However with
05700	multi-staff music certain problems will arise. It is very rare that any one
05800	voice will have all the smallest time values to be found. More often the small
05900	values are found first in one voice, then anotherm and then another, etc.
06000	
     

00100	
00200		(If you must make use of the page layout program you will not have to
00300	concern yourself with these problems. In that program, just so long as the
00400	various rhythms are lined up properly, all the spacing is automatically
00500	reconstituted according to the PSF system. Preparing lines for eventual
00600	processing by the page layout program will be discussed in a later chapter.)
00700	
00800		The method of dealing with this problem to be discribed must be used
00900	when creating large scores, where no more than one brace of staves can appear
01000	on a single page, or any time when the page layout program is not going to be
01100	used to rearrange the spacing. The first thing that must be done is to create a
01200	dummy staff, one that will not appear in the final printing, which will contain
01300	a line of notes, bars, clefs, etc., which represents the worst possible
01400	conditions of crowding at every point along the line. When this is entered, it
01500	will serve as a guide for all subsequent staves to be filled. This dummy, or
01600	spacing staff will have its contents arranged in such a way as to take advantage
01700	of the spave available. After all parts in a given group of staves are complete,
01800	the spacing staff will be deleted leaving only the actual staves to be printed.
01900	In the next exercise the first staff entered must be the spacing staff. It is
02000	usually easy to deside at sight, without much study, what rhythms must be used.
02100	The particular pitches and clefs used are of noo importance on this line.
02200	
02300	Exercise 5
02400	
02500	SP 4
02600	
02700	IN 4
02800	
02900	M/TR/T4 4/F4//// // ///M/F/ // /TR/F/ //M/F///M;
03000	
03100	0 0 1
03200	
03300	S//// Q// T/// Q/ E//E./S/E// Q//H;
03400	
03500	G
03600	
03700	IN 0
03800	
03900	M3/BA/T4 4/F3/// /TR/F4//M3/F///BA/F3//M3/F/M3;
04000	
04100	N
04200	
04300	2B
04400	
04500	N
04600	
04700	IN 1
04800	
04900	AL/T4 4/A3// // /;
05000	
05100	2//2./Q/2/;
05200	
05300	G
05400	
05500	IN 2
05600	
05700	TR/T4 4/C4/ /// // // //;
05800	
05900	2./T///Q/2/E//Q//2;
06000	
06100	N
06200	
06300	Y
06400	
06500	2.3 4/7 8;
06600	
06700	Y
06800	
06900	6 7;
07000	
     

00100		Now to complete the work the spacing staff must  be  deleted.
00200	This could be done by stepping through the items deleting them one by
00300	one.   However it is much faster to  use  one  of  the  "group  edit"
00400	commands.    "DEL"  is  one  of a set of commands that can be used to
00500	modify a whole group of items at one time.    All  the  "group  edit"
00600	commands will be described later.
00700	
00800		Type DEL <cr>
00900	
01000		The program will respond with the prompt,
01100	
01200		"STAFF NUM,POS1,POS2,(CODE NUM)"
01300	
01400		If  only  a staff number is typed then every item having that
01500	number in P2 will be deleted. The deletion can be selective according
01600	to  the  horizontal  position limits given and/or the particular code
01700	number given. If 4 0 0 1 were typed (the second zero being  taken  as
01800	the  same  as 200) only the notes (code number 1) on staff four would
01900	be deleted.
02000	
02100		So at this point type 4 <cr> to complete the exercise.
02200	
02300		The next exercise will also use a composite for  the  spacing
02400	staff  but now the significant staff will include two separate voices
02500	and various points.
02600	
02700	Exercise 6)
02800	
02900	SP 4
03000	
03100	IN 4 0 0 .9
03200	
03300	TR/F4//// ///M/ F/ // //M/F/ /// / //M/F//M;
03400	
03500	1 0 1
03600	
03700	S//// Q/// /E//Q// /T///Q/E//H/;
03800	
03900	G
04000	
04100	IN 2 0 0 .9
04200	
04300	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;
04400	
04500	S////2/Q/ E//Q// /E//Q//2/;
04600	
04700	N
04800	
04900	2B
05000	
05100	N
05200	
05300	IN 2	[Other parameters  not  needed  since  staff  2  now  already
05400	exists.]
05500	
05600	SD/E4/C/E/F/FS/RI//RD/AF/F/G/F/RI;
05700	
05800	T///Q/2/W/Q/T///Q./E/W;
05900	
06000	N
06100	
06200	2B
06300	
06400	N
06500	
     

00100	
00200		Numeric indications for the triplets in the lower voice can be added
00300	later. The invisible rests (RI) are needed to make the lower voice have the
00400	same total rhythmic value as the upper voice. The two invisible rests in a row
00500	are used to avoid confusion. A single RI could have been used. Then the 
00600	rhythmic input for that point would have been /1,4/, that is the total duration
00700	for the invisible rest would be a whole note value plus a quarter. This form of
00800	rhythmic input is useful only with invisible rests.
00900	
01000		Now delete the spacing staff.
01100	
01200		DE <cr>
01300		4 <cr>
01400	
01500		Before the next exercise a little more will be said about the input of
01600	notes and rhythms. Most music has a great deal of repetition of various small
01700	units of rhythms or pitches. You have already seen how the consecutive slashes
01800	can be used to repeat single notes or rhythms. If there are more than 4 or 5 of
01900	the same thing in a row, the repetitions can be shown by using an "X" followed
02000	by a number indicating how many repetitions there will be. FSX8/ means there
02100	will be 8 consecutive F sharps. 16X8/QX7/ means there will be 8 sixteenth notes
02200	and then 7 quarter notes. If a varied group of notes or rhythms is to be
02300	repeated use the format REP n/ where n = the number of input units to be
02400	repeated. For example C4/D/E/D/REP 4/ would be equivalent to typing 
02500	C4/D/E/D/C/D/E/D/. You can also type REP n t/ where t = the total number of
02600	times the last n units will appear. Thus F4/G/AF/REP 3 4/ will print the phrase
02700	F-G-Ab a total of four times. (NOT! four more times after the 1st time.) This
02800	same system can be used with rhythmic input.
02900	
     

00100		An even more flexible way of dealing with the  repetition  of
00200	varied strings of notes or rhythms is to use the "motivic" feature of
00300	SCORE input.  Any string of notes or rhythms can be designated  as  a
00400	"motive"  by  typing  a letter, followed by a left parenthesis at the
00500	beginning of the string and putting a right parenthesis at the end of
00600	the  string.   After  this is done, the entire string can be repeated
00700	anywhere else by typing only  the  "at"  sign  (@)  followed  by  the
00800	identifying  letter.   Up to  26  motives can exist at once.  After a
00900	motive is defined it can be used in any line on the screen.   Motives
01000	can  also  be  "saved"  for  later  use on other pages.  This will be
01100	explained in the section on saving your input work.   Here  are  some
01200	examples of motives.
01300	
01400	A(C4/E/D/F)/G/B3/@A/E/G/@A/C;
01500			 ↑      ↑
01600	
01700		The string C-E-D-F has been defined  as  motive  A.  It  will
01800	appear three  times  in this line.   Each time the motive is recalled
01900	the octave numbers are reset.  Thus the E/, appearing after @A/, will
02000	be E4/ because the octave number in motive A is 4.
02100	
02200		Two or more motives may be combined to  form  a  new,  longer
02300	motive.
02400	
02500	G(8/16/)/R/(8//4)/S(@Q/@R)/@R/@Q/@S;
02600			   *↑  ↑   ↑  ↑  ↑
02700	
02800		The  first  motive,  Q,  is  made  up  of  an  eighth and two
02900	sixteenths. At "*" motive S is formed from the contents of both Q and
03000	R.
03100	
03200		With notes, a motive may be transposed visually any number of note
03300	level units by typing a number after the identifying letter. The word
03400	"visually" is used here because this does not cause transposition in musical
03500	terms but rather the sequence of notes is merely shifted to some different
03600	level on the staff. Any accidentals involved will remain exactly the same.
03700	
03800	Z(C4/D/EF/C)/@Z3/@Z-1;
03900		    *↑   ↑
04000	
04100		At "*" the notes of the motive will appear up 3 levels from the
04200	original, i.e. F/G/AF/F/. Next the motive will shift down one unit from the
04300	original, giving B3/C4/DF/B3. The musical intervals here would be quite
04400	different.
04500	
04600		With rhythms the number after the letter is used to indicate
04700	augmentation or diminution of the rhythmic values.
04800	
04900	H(Q/E//Q)/@H.5/@H2;
05000		 *↑   **↑
05100	
05200		At "*" we will have the rhythmic values cut in half, i.e. 8/16//8/.
05300	Then at "**" the values are doubled in duration to 2/4//2/.
05400	
     

00100	00000