>LM=2 RM=78 TM=1 J=N
 
Introduction.
 
        To begin to describe the use of the MS program the process of
setting up a typical page of music will be traced in detail.  This
section will by no means touch on all the features of the MS program,
nor will full explanations be given for each step.  However page
references will appear showing where complete descriptions of the
features may be found.
 
        At the top of each page in the following examples the
composer's original manuscript appears.  Next is a listing of the input
file containing the main information for the given manuscript excerpt.
At the bottom of the page is the same music as it will appear on the
graphics display screen.  It must be emphasized that this is just the
first step in the process which will lead to the final output.  After
this step is complete for an entire piece or movement the files
produced will be reprocessed by the page layout program, "PAGE".  In
general, no major editing should be done until after the page layout
program has been used to establish the final format.  This program will
be explained in detail later.
 
        In the first input step several items in the original
manuscript will be ignored.  These items will usually include tempo
indications, some slurs and ties, most words, etc.  All these things
are to be entered after the final format has been created.  (In most
cases, if these items were entered in the early stages, they would just
have to be re-edited after use of the PAGE program.)
 
        In almost every case it is best to enter the bottom staff of
a system first.  The main reason for this is that all bar lines that
cover more than one staff are always considered to go upward from
some staff.  In the example at hand all the bar lines will be entered
only on the bottom staff, Staff 0.  They will however extend to the
top of the upper staff, Staff 1.  The line containing the bar lines
should go in first because the extra space the bars need is
automatically provided.  If there are notes already in position on
other staves, this extra space cannot be given.
 
        The usual method of entering data is initiated with the word
IN.  When the program sees IN it checks to see if staff lines have
already been entered at the position indicated by P2.  If there is a
staff already present, any numbers following IN will be ignored,
otherwise a a staff will be created in the proper position.
 
        At line 100 the word IN is followed by a group of parameters.
The first zero, P2, refers to Staff 0.  (The word IN is P1.)  The
second zero, P3, means that Staff 0 will begin in horizontal position
0, the far left side of the page.  The third zero, P4, means there will
be no vertical shift.  The last number, P5, is set to .9, meaning the
staff size will be 90% of the default size.  Since no other parameters
are mentioned, they will all use their default values.  (For example,
P6, the right horizontal position of the staff, will become 200, the
far right edge of the printed page.
        Line 200 will tell what portion of the staff will be used
for the input which will follow.  The zero says that the default values
will be used.  This means that the full range of the line, 0 to 200,
will be used.  (The numbers, "0 200", could have been typed.)
 
        Line 300 contains the main body of the input for the bottom
line of the music.  M2 means we will begin with a measure line at
position zero (because of the statement in line 200) which will cover
a total of 2 staves, Staff 0 and Staff 1.  Each particular item in
a line will be delineated with a slash.  When there is no more of the
current type of input to come a semicolon is used.
 
        Next in line 300 comes the clef designation, BA.  BA=bass clef,
TR=treble clef, AL=alto clef, TE=tenor clef.  These are the only clefs
that can be entered at this time.  However any of the other clefs may
be created with the editing methods.  If no clef is given the use of
treble clef is assumed.  Sometimes you may wish the notes to be in
position as if there were a bass (or other non-treble) clef.  In this
case precede the clef code with a minus sign.  In effect this produces
an invisible clef which has no space requirement.
 
        Next comes the time signature, or meter.  The time signature
will always be made up of the letter T followed by a number, a space,
and another number.  Thus "T6 8" will give the 6/8 meter.  Almost any
two numbers can be used here.  For the special meter signs for common
time (C) and Alla Breve use "T99 1" and "T98 1" respectively.
 
        The next few entries are for the notes of the bass part.  The
first entry, "OE2", is special however.  The letter O indicates that
the following notes will be entered in "ordinary" mode.  Every note
will be considered to be in the octave range of the last given octave
number.  The octave range numbers begin with C1, the lowest C on the
piano keyboard.  C4 is middle C, C6 is the high C of the trumpet, C2
is the low C of the cello.  The B just below middle C is B3, etc.
After the first octave number is given, the octave range numbers need
appear only if the notes enter a new range.
 
        A little further down line 300 you will find "M2".  This
indicates the next bar or measure line.  Immediately after this comes
"PB2".  The letter P tells the program to go into "proximity" mode in
relation to the octave ranges of all the following input.  This means
that as long as no octave number is given, each succeeding note will be
at the closest possible position to the preceding note.  Thus the
sequence "PB2/CS/D" will bive us the B2, C#3, D3.  If the letter P
had not been typed, the C# and D would have appeared in the octave
range 2 instead.  Take note of the following example.  If /OC4/G/ is
typed, the G will appear a fifth higher (G4) than middle C.  However
if we type /PC4/G/, the G will appear a fourth lower (G3) than the C
because this G is closer to middle C than is G4.  Remember that the
letters P and O are "sticky", that is the effect of either one of them
remains constant until the other one appears.  When you first run the
program the letter O is understood.  However, it is a good idea to give
either an O or P at the beginning of your note input.
        In line 300 a few accidentals appear, sharps and naturals.
Simple letters are used for these.  F=flat, S=sharp, N=natural,
FF=double flat, SS=double sharp.  Line 400, the continuation of the
note input line, begins with an R.  This is the code for a rest.  Note
that the time values for all the notes and rests will be given in the
next line of input.  Some people at first think it might be easier to
type both the notes and rhythms at the same time.  Experience has
demonstrated that it is much faster to separate the input into various
"passes".  The major pitfall of the multi-pass input system is that if
one has accidentally omitted either a note or a rhythm, it is sometimes
difficult to find the error.  It is easy to develop typing habits that
will minimize this problem.  In some cases it might be best to type
only one measure of notes per edit line, and then do the same with the
rhythm input.  Probably it is sufficient just to insert extra blank
spaces in the input lines wherever bar lines appear.  This way any
errors can usually be found rapidly.
 
	Line 500 contains the rhythmic input.  Most of the simpler rhythmic
values can be entered with letter names.  E=eighth, Q=quarter, S=sixteenth,
H=half, W=whole, T=triplet.  This last is a bit ambiguous.  The T alone is
taken to mean 3 notes in the time of 1 quarter note.  Since these notes
look like eighths they are called eighth note triplets.  Thus T8 and 
just T would have the same affect.  For 16th note triplets type T16, etc.
For more flexibility, numbers may be used for all rhythmic input.  The
numbers used will be the bottom portion of the rhythmic fraction.  
16 = a sixteenth note, 8 = an eighth note, 4 = a quarter, 2 = a half,
1 = a whole note 32 = a thirtysecond note, etc.  Using this system then an
eighth note triplet can be expressed as a 12 -- there are 12 of them in a
whole note.  A note which occupies 1/5 of a quarter note is expressed as a
20.  (4 times 5 = 20)  In this way any rhythmic value can be expressed.  The
number used always indicates how many equal values are needed to make up
the time of a whole note.  Dotted rhythms are typed by simply adding dots
to either the number or letter used.
 
	There are several ways to deal with strings of repeated rhythms (or
notes).  In line 500, EX12/ means there will be a sequence of 12 eighth notes.
Then SX4/ gives four 16th notes, etc.  This same system will work with the
input of notes.  (FX5 gives a string of five Fs.  But note that CSX5 will give
a string beginning with a C# followed by four Cs with no accidentals in front
of them.  This is in keeping with notation traditions.  If you want all the 
Cs to have sharps in front of them, you must be specific: CS/CS/CS/CS/CS/.)
Also any entry of notes or rhythms may be repeated by just typing another
slash.  The slash always repeats the last itme specified.  16////// then is
equivalent to 16X6/.  In any case it is always a good idea to leave some
spaces to show where measures are divided.  e.g. 4///16////  ////2./ shows
we have two bars, the first with four quarters and four 16ths, and the
second with four 16ths and a dotted half.
 
	Line 600  has the entry of some marks that are attached to
specific notes or can get their positions from the note positions.
On page   of the MS Manual there is a full list of the various items 
that can be entered at this stage. In the case at hand the fingerings
appearing in the third bar are given.  F5 13 17/ means that the fingering
number 5 should appear on notes 13 and 17.  For this purpose the notes 
are numbered according to the order in which they appear.  However all the
notes of any chord are considered as one since they all will occupy the 
same rhythmic position.  Rests are not counted at this point.