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.

At line 100 the word IN is  followed by a group of parameters.  The  first
zero, P2, refers to Staff 0.  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 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.

The MS program can create scores  with as many staves as desired,  however
only up to 8 staves may appear on the CRT display at one time. Due to  the
limitations of the display system it is best to deal with as few staves at
a time as is convenient.  The  dispayable staves are numbered 0 through  7
with 0 appearing at the bottom of the screen.

Each object  used  in  a  musical score  will  be  automatically  numbered
according to its order of entry.   These objects are known as "Items"  and
each Item will be  associated with a particular  staff number.  Each  Item
will be  defined  in  terms  of  a string  of  parameters.   The  first  4
parameters for each Item will conform to the following conventions.


	P1	will contain the special code number for each Item.
		For example the code number for notes is 1; 
		for rests, 2; for clefs, 3; etc.

	P2	will indicate the staff (0 to 7) to which the Item is
		attached.  The vertical size of the staff will determine
		the basic size of each Item.

	P3	will indicate the horizontal position of each Item. The
		normal full screen width has a range of numbers from
		0 to 200.  Position 100 is at the center of the screen.
		P3 numbers are absolute.  They are unaffected by staff
		size.  Floating point numbers may be used in this and
		most following parameters.  (The position numbers will 
		usually refer to the position of the left leading edge 
		of an object.)

	P4	sets the vertical position of each Item.  Vertical 
		position will always be relative to the vertical position 
		of the staff involved.  The position numbers are related 
		to the numbering of the notes of the diatonic scale 
		beginning with middle C=1.  The treble clef is assumed for 
		this purpose.  Thus a note with P4 set to 1 would appear 
		on the first ledger line below the staff.  The bottom line
		of the staff is position 3.  (The musical interval from
		C to E is a third.)  The first space in the staff is
		position 4, the top space is position 10, etc.  The 
		analogy to musical intervals holds only when ascending 
		from position 1.  Descending, the next position is 0 (for 
		B below middle C), then -1 for A, -2 for G, etc.  Note 
		that the actual clef used is not pertinent here; 1 will 
		put a note on the first ledger line below the staff no 
		matter what clef has appeared.  For many Items P4 will 
		indicate the position of the bottom or middle (as with 
		notes) of the Item, however there are many exceptions to 
		this (clefs, rests, etc.)

The higher parameter numbers will serve various functions depending on the
code number (P1) involved.



A guide  to  spacing  may  be  made to appear on the screen by typing SC n 
<cr> ; where n is  a staff number.  (SC =  spacing scale) Upward from  the
bottom of  the screen,  on the  far left  side, the  numbers 0  to 7  will
appear.   These  refer   to  the   numbered  positions   of  the   staves.
Horizontally, at whatever staff number  that has been given following  SC,
the scale is printed by tens in an abbreviated form running from 0 to 9 (=
0 to 90), 0 to 9 again (= 100 to 190) and then a final 0 (= 200).  To move
the scale to a different staff level just type SC n <cr> with a new  value
for n.  To  erase the  spacing scale  entirely, type  SC 99  <cr>.  It  is
usually a good idea to have the spacing scale visible when any editing  is
being done.



	Setting up the musical staff.
	
	Usually the first step in entering a score is to set up the staff.
The parameter list for a staff is as follows:

| P1 | P2   |  P3 |   P4   |  P5  |  P6 |  P7	  |   P8   |      P9	  |
|Code|Staff |Left |Relative| Size |Right|Visible, |Location|Identification|
|Num.| Num. |side |vertical|factor| side|invisible|   of   |     name	  |
|(8) |(Basic| of  |position|      |  of |	  |spacing |		  |
|    | vert.|staff|	   |      |staff|	  |  line  |		  |
|    | pos.)|     |	   |      |     |	  |	   |		  |
|    |(0to7)|     |	   |      |     |	  |	   |		  |

Normally a zero in  P2 will put  a staff near the  bottom of the  display.
However a staff zero may be made to appear anywhere by changing the number
in P4. The vertical spacing  units used in P4  will be called "note  level
units." There are two note  level units from one  staff line to the  next.
Thus if  P4 =  2 the  staff will  appear 2  levels higher  than the  basic
position. P4 = 10 would put the staff down 10 note levels.

The actual size of each note level unit depends on the size factor  number
in P5. When the  program begins P5 is  set to 1 for  all 8 staves.  If  P5
equals 2, then the size of each note level unit will double.  P5 = .8 will
make the note  level units 80%  of the basic  size. The size  factor of  a
staff will influence every Item associated with that same staff.  Thus all
the notes on a staff with P5 = .5 will be half as large as the notes on  a
staff with P5  = 1. The  horizontal position  numbers (0 to  200) are  not
affected by the P5 size factor of the staff.

P3 and P6 control the actual width  of the staff. The original values  for
these are 0 and  200. To make a  staff occupy only the  right half of  the
screen set P3 to 100. To make it occupy only the left half set P3 to 0 and
P6 to 100. The horizontal spacing units will remain constant at all times.
With most Items which have variable  left and right position points,  such
as slurs, beams, various lines,  etc., P3 and P6  are used to specify  the
left and right locations.

Normally P7 is left at zero, however it is sometimes useful to have  items
associated with a  staff size factor  different from any  of those  staves
which are visible. When P7 is set  to 1 the staff lines will be  invisible
but whatever values are given to P4 (vertical note level position) and  P5
(size factor will then  serve as the  bases for all  items using the  same
staff number (P2.)




P8 is  used to  aid in  spacing  groups of  staves when  several  separate
display units (files) are assembled to print a full page.  The use of this
feature will be explained later.

P9 can be made to hold a special identification name for each staff. These
names are needed when the automatic part-extraction program is used.  This
program will be dealt with later.

The following examples should be tried to gain familiarity with the  staff
placement. All entries must be terminated with <cr> (the return key.)

To start the operation  of the program  type R MS  <cr>. The program  will
respond with "TYPE FOR  ITEM 1". To  put the spacing  scale on the  screen
type SC0 <cr>. The scale will appear and the prompt will be repeated.

Then type 8 <cr>.

This will place a  full-length staff at position  zero, the bottom of  the
screen, with a size factor of 1. Since only P1 (the code number) has  been
given here all the defaukt values for the remaining parameters are assumed
by the program.  Now try,

	8 5 50 (always followed by <cr>.)

In this case a staff  at position 3, the middle  of the screen.  The  size
factor, in P5, will cause the staff to be 80% of the vertical size of  the
other staves.  Now try,

	8 7 0 0 1.1 100

This will put a staff  near the top of the  screen, position 7.  The  size
factor, 1.1, will cause it to be 10% larger than the standard and the  100
in P6 will cause the right side of  the staff to end at the center of  the
screen.



Editing

Any of  the items  appearing on  the  screen may  be edited.  The  several
methods for locating the parameters of particular items will be  explained
later. Each item is given a number  internally as it is entered. To  bring
forth an item for editing simply  type "I" followed by the proper  number.
Thus typing I1 <cr> will make a cursor (marker) appear at the left leading
edge of the first staff entered. Also the list of parameters for that item
will be printed on the screen. At this point any of the parameters may  be
changed by typing the parameter number followed by the change desired.

If 4  1 is  typed  the new  vertical position  of  the staff  will  appear
superimposed on the original staff. Since P4  now has a 1 in it the  whole
staff has been moved up  1 note level unit. The  lines of the new form  of
the staff will appear  in the spaces of  the original form.  The  original
parameter list will print out once more.  Now if "X" (for "exit from  edit
mode") is typed the original form of the staff will disappear leaving only
the altered  version. The  list  of parameters  will also  disappear.  The
screen will say  "TYPE FOR  ITEM 5",  (there are  already 4  items on  the
screen.) New items may now be entered or further editing may be done.

To re-edit the first staff type "I1" again. (No space is needed between  I
and 1.) The parameter list for item 1 will now show a 1 in P4.  If 4 -1 is
typed the staff will appear 2 note level units below its current position.
4 3 will superimpose it 2 note  levels above its current position. In  all
these cases an absolute value is being given for P4.  Relative values  may
be given by adding two zeros to the parameter number.  (Or, if you prefer,
PnX100.) Thus, typing 400 -3 will cause the edited version of the stave to
move down 3 units from  whatever level it may be  at. If all the  previous
steps have been  typed as  indicated the edited  position will  now be  at
level zero.

Several parameters may be changed at one time. The parameter numbers  need
not be given in order. 3 10 6 190 400 4 will move the left and right sides
of the staff (P3 and P6) each in toward the center by 10 horizontal  units
and the staff will be  moved up by 4 note  level units.  (P4 is listed  as
400 to cause a relative shift.) Typing an "X" will once more exit from the
edit mode.

If nothing is typed  at this point  and instead of an  "X" (for exit)  the
<cr> key is struck the editing of item 1 will cease, the old form of  item
1 will disappear leaving only the edited form and the cursor will move  on
to item 2 and its parameter list will be printed. Further carriage returns
will step through the items in order.  When there are no more items  found
the cursor will no longer  appear (you will be out  of edit mode) and  the
program will wait for other commands.

To edit the  last item entered  or edited  no number is  needed after  the
letter I.  In this set  of examples typing I <cr>  will go into edit  mode
for item 4.  To  back up from this  point, -2 <cr> (no  "I") will move  to
item 2, or I2 <cr> would do the same thing.  These last mentioned commands
will work only if there  have been no changes  made in the item  currently
indicated by  the  cursor.  If  changes  have been  made  single  negative
numbers or the letter I  will be ignored by  the program.  The only  valid
commands are further parameter  changes, an "X" or  <cr> to terminate  the
editing of that item, the letters L,R,U,D, the letter "C" (for COPY),  "P"
followed by a parameter number or "DEL".



The letters L, R, U and D, followed by a number, may be used for moving an
item left, right, up or down. L6  <cr>, for example, would move an item  6
units to the left. D4 would move it 4 note level units down.  L5.5 U7 <cr>
would move it left 5.5 units and up  7 units. If no number is given  after
one of these  letters the  number last used  for that  coordinate will  be
applied. D6 will move an  item down 6 units. If  U <cr> is then typed  the
item will go up 6 units - or back to its original position. When no number
is used only one of these letter commands may be used at a time.

With "C" the original form of the item remains unchanged and a copy of the
item in the edited form  is added on to the  total list of items.  Here  a
special situation arises when dealing with staves. The only point in using
"C" with staves is if the list of parameters changes includes a change  in
P2, the staff number.  For example, type I1.  The parameter list will  now
contain:  8 0 10 4 0 190 (The size factor is actually 1 even though a zero
appears in P5.)

Then type 2 1 400 -6. This will put the edited form of item 1 up to  staff
position 1 but with a relative shift down 6 note level units from where it
would otherwise appear. Now C <cr> will make this form of item 1 into item
5 and the program will exit from edit mode and say, "TYPE FOR ITEM 6".

Each time parameters are changed while  in edit mode the original list  of
parameters is printed out. To see the exact edited value of any parameter,
type Pn, where n is a parameter  number. Only one parameter at a time  may
be examined in this manner.

Once in edit  mode, an  item may  be deleted by  typing DEL  <cr>. If  any
changes have been made before, this command will be ignored. So to  delete
item 2,  type I2  <cr>, then  DEL  <cr>. Item  2 (the  staff that  was  at
position 5) has now disappeared  and the cursor has  moved on to the  next
item. Internally, all the items are  now renumbered from this item on.  If
this next item is not to be changed, then type X to exit from edit mode.




The various staves to be used  are best entered before any other  objects.
After that the notes and various other symbols are usually entered with  a
variant of  "SCORE" notation.  (SCORE is  a notation  system for  creating
input for computer sound generating  programs.) However before going  into
SCORE notation it would be well to discuss the various possible parameters
of a single note and the relation of the note to the staff.

To make a fresh beginning hit the "CALL" key. This takes you out of the MS
program. Then type R MS <cr> and a fresh version of the program will be in
operation. Enter a staff number zero by  typing 8 <cr>. A single note  can
have as many as 12 parameters and some of the parameters will serve double
duty. For a resume  of the functions  of all the  parameters refer to  the
referance manual, MS.REF[MAN,LCS].

Now type 1 0 100 1  <cr>. A note, with no  stem, will appear on the  first
ledger line below  staff zero.  Notes on  the CRT are  made up  of only  6
lines, to conserve display vectors. When hard copy is made they appear  in
the conventional manner. Of the parameters that have been typed the  first
is the code number for notes, 1. P2 is staff number to which the note will
be attached. P3 is horizontal position number and P4 is the vertical, note
level position.

At this point another editing feature will be mentioned. In most cases the
last item entered  may be moved  about with the  L, R, U,  and D  commands
without formally  entering edit  mode just  so long  no other  items  have
meanwhile been edited. So at this point  typing L50 U3 <cr> will move  the
note half way toward the  left side and up 3  note levels - to the  lowest
space on the staff.  Since we are  not in edit mode,  when the note  moves
there is no "original" left behind. Now  typing R <cr> will move the  note
right 50 units, back to the center of  the screen. D <cr> moves it down  3
units, to its original position.

To add more parameters  to the note  we must enter edit  mode by typing  I
<cr>. No number  is necessary since  the note was  the last item  entered.
With notes,  P5  is used  to  indicate the  presence  of a  stem  and  its
direction and the presence of accidentals. P5 will usually be a two  digit
number where  the first  digit contains  stem information  and the  second
digit can indicate accidental. Type 3 110 5 10. Changing P3 will move  the
note over so that all the changes can  be clearly seen. The 10 in P5  will
cause an upward stem to  appear. The second digit is  zero so there is  no
accidental. Now type 5 20 . This causes the stem to go downward. Now  type
500 1 . This causes a relative change  of +1 in P5, thus the second  digit
is now one and  a flat will appear  in front of the  note. Type 5 12.  The
stem will go up (first digit) and the accidental will be a sharp. For  the
second digit: 1  = flat, 2  = sharp,  3 = natural,  4 = double  flat, 5  =
double sharp.




It will be sometimes necessary to move the accidental away from the  note,
to the left. (This happens in many chordal formations.) The accidental may
be pushed to the left by putting numbers to the right of the decimal point
in P5. Type 5 12.2 <cr>. This will cause the sharp to move two  horizontal
units to the left of the note. 5 12.15 puts the sharp one and a half units
to the left of the note.

P7 works in the same  manner as P5 execpt that  the first digit refers  to
the number of dots to  be found after the note  and the second digit  sets
the number of tails which  will be attached to the  stem. 7 12 puts a  dot
after the note and two tails on  the stem. (1/16 note.) Numbers after  the
decimal point will move the dot to the right.

P8 will  control the  length  of the  stem. Here,  a  zero will  give  the
standard stem length (one octave.) (For internal reasons in the program  a
zero is turned into the number 999.) In cases of notes with more than  one
tail the standard stem  length is somewhat extended.  Numbers put into  P8
will change the stem length  by note level units. Type  8 -1.5 . The  stem
will become 1.5 units shorter. Type 800 3 . The stem will now have 3 units
added to its former length. It is now 1.5 units longer than the standard.

To this point we have been dealing with a black note, for rhythmic  values
of a quarter note or shorter duration. To make this note into a half  note
type 6 -1 . Of course the tails on the stem are now meaningless. Type  700
-2 to remove them. This zeros the  second digit of P7. To change the  note
to a whole note the  stem must be removed. For  this, type 500 -10 .  This
zeros the  first digit  of  P5 without  changing  the accidental  and  its
displacement.  If X is typed we should now have a whole note in the bottom
space of  the  staff (F,  if  it were  using  treble clef)  at  horizontal
position 110, with a sharp spaced to the  left and a dot to the right.  If
we type I to enter edit mode for this note once more the entire  parameter
list will print out.

	1 0 110 4 2.15 -1 10 1.5

You will  notice P8  has information  about stem  length however  this  is
ignored since P5, having no first digit, tells us that there is no stem.

The principle use for  P9 is to store  rhythmic-spatial values. These  are
used by the part-extractor and page lay out program. Otherwise, a -1 in P9
will suppress any  ledger lines that  normally would appear  with a  note.
The principle use of P10 is to  cause notes to appear on either the  staff
above the one indicated by P2 (P10 =  2) or on the staff below (P10 =  1.)
This is needed in piano  and harp music. More will  be said about this  in
the discussion of beams.




P11 is used  for adding various  marks to  the note. Up  to two  different
marks at once  may be  indicated by  P11. Type 11  5. Now  an accent  will
appear under the note. 11 9 will  change this to a heavy wedge accent.  To
put two marks on the note P11 may  be thought of as having 4 digits.  Each
set of 2  digits refers  to one  mark. Type 905.  This means  the first  2
digits are 09 and the second 2 are 05. This will give an accent under  the
note and a dash below that. In cases where it matters, the mark  indicated
by the first 2  digits will always  be the farthest from  the note. For  a
complete list of possible marks  see the list under  code number 9 in  the
MS.REF file. Experiment with several of the numbers to get a feel for  the
possibilities. Note that any of the symbols found under code number 9  can
be applied to a note as independent items. In this case the items must  be
positioned visually and if the note is later moved the marks must be moved
separately.

Some different note shapes are available through the use of P4. Add 100 to
P4 to make mini-notes,  or grace notes. +200  makes a diamond shape,  +300
makes "X" notes. +400 makes invisible note heads. Type 300 10 400 100  500
10 6 0.  The note will be moved 10 units to the right. (10 has been  added
to P3.) The note has become a  mini-note. (100 has been added to P4.)  The
note now has  an upward  stem (10  has been to  P5.) The  note has  become
solid, or black. (P6 is now zero.) P8 once more has signifance because the
note has a stem. Type 8 0 to make the stem become the standard size.

Next try typing 4 202.  The note will move down  to the level of a  treble
clef D because of the right-hand digit 2. The note becomes a diamond shape
because 200 has been added to the note level number.

Type 400 100. This adds 100 more to the value of P4, making the total 302.
The left hand 3 now makes the note into an "X" shape, as is often used for
percussion parts.

Type 4 406. The 400 added to the note level number causes the note head to
be invisible. The stem remains however, moving upward from position 6, the
space for treble clef A.

The number 500  added to  the note level  number will  call upon  whatever
special notation package that  has been added to  the program. The use  of
this feature will be explained later.

At this point it would  be well to review  the parameter resume for  notes
given in MS.REF. In  the same file  look over page 8-2  on "HOW TO  CHANGE
PARAMETERS". Experiment with all the material  covered so far so that  the
possibilities are well understood.



	Entering complete lines of music - SCORE input mode.

Putting in very many  notes in the manner  described above would be  quite
slow work.  A  method has  been  devised  whereby elements  of  the  SCORE
notation system may be  used for the  major part of  the input. Notes  are
referred to by their letter names and rhythms by their numerical values or
letter names.  Other musical  symbols  referred to  by letters  which  are
fairly easy to remember.

The main rules for this  type of input are that  a slash (/) must come  at
end of each rhythmic unit or musical symbol entered and the last item ends
instead with a semi-colon.

All typing  must begin  in the  first available  space. Several  lines  of
typing may be entered for one line of music. If more than one line is used
the first lines must each end with a slash. The final line of typing  must
end with a semicolon. No more than  72 characters can appear on any  input
line.

The SCORE system  can be  described as  a multi-pass  input language.  The
first pass  or string  of input  will include  all the  things which  will
require some specific  amount of  horizontal space.  These include  notes,
rests, clefs, bar lines, key signatures and meter numbers. For notes,  the
standard alphabetical names are used; C,D,E,F,G,A,B. For accidentals: F  =
flat, S = sharp,  N = natural, FF  = double flat, SS  = double sharp.  The
accidental must follow the note letter with no space.

An alternative method of indicating accidentals is by multiple key strokes
on the note  letters. A  double letter  is a flat,  a triple  letter is  a
sharp, a quadruple letter is a natural. E.g.  CC = C flat, GGG = G  sharp,
BBBB = B natural.

Of course a C may appear in any octave range. Numbers from 1 to 8 are used
to specify each particular  octave. An octave range  is considered to  run
from C up to  the B above.  C1 is the lowest  C to be  found on the  piano
keyboard.  C2 is the lowest string of  the cello; C3 is the lowest  string
of the viola; C4 is middle C, or the lowest C of the flute; etc.

The octave  numbers need  appear only  when there  are changes  in  octave
range. A scale, up 2 octaves from middle C would be typed as follows:

	C4/D/E/F/G/A/B/C5/D/F/G/A/B/C6;

An alternation between C5 and B4 several times normally requires that  the
octave numbers be typed for  every note: C5/B4/C5/B4/C5/B4/ etc. To  avoid
typing so  many numbers  the letter  "P" is  used to  indicate  "Proximity
mode."  Proximity mode means simply that any note without an octave number
will be considered to be as close  as possible to the previous note.  Once
"P" appears Proximity mode  is used until an  "O" (for ordinary)  appears.
Using Proximity mode for the last example given the string would be  typed
as follows:

	PC5/B/C/B/C/B/ etc.

Notice that PC5/G/ will put the G in octave 4, down a perfect fourth  from
the C. PC5/F/ will put the F in octave 5, a perfect fourth up from the C.




Chords are constructed  by using a  colon between the  notes instead of  a
slash. (The slash thus separates the individual rhythmic units.) The  stem
direction will be  determined by  the order of  typing the  notes. If  the
first note typed is the lowest, the stem goes up; if the first note is the
highest, the  stem  will  go  down.  In most  cases  the  spacing  out  of
accidentals and dots on  chord notes and the  positioning of notes on  the
proper side  of the  stem in  close-knit chords  will be  automatic.  Some
examples: BF3:D4:F/ gives  a Bb chord  with the stem  going up.  F4:D:BF3/
gives the same  chord, but with  the stem going  down. The Proximity  mode
feature will work here in the usual way.  The same results as above can be
had by typing PBF3:D:F/ and PF4:D:BF/.

There is a special way  of easily typing in  octaves. A "+" following  any
note will cause it to appear along  with its upper octave, stem going  up.
The "-" will cause the  note to appear with  its lower octave, stem  going
down. The rules about the persistence of octave numbers refer only to what
is actually typed. For example, C4+/D+/E+/ will produce octaves with stems
up as if you had typed C4:C5/D4:D5/E4:E5/.

Chords that include octaves may  be typed as follows: EF5-:CN:AF4/.   This
is the same as if you typed EF5:CN:AF4:EF/.

If a number (n) from 2 to 9 is typed immediately following the "+" or  "-"
then a note at the  interval n from the given  note will appear. Thus  the
notes C4:A/E:C5/B3:G4/ could as well be typed C4+6/E+6/B3+6/. It should be
noted that whatever accidental appears on the given note will also  appear
on the other note.

The  stem  direction   of  single,   non-chord  notes   are  usually   set
automatically, according to the traditions of music printing. However,  in
multi-voice music  it is  often  desired to  have  the stem  direction  go
oppsite to the norm. SU/ (stems up) and SD/ (stems down) are used for this
purpose.  Once SU/ or SD/ appears in  a given line of music the  automatic
system will no longer operate and  from that point on all stem  directions
must be specified. When a  new line of music  is then typed the  automatic
system begins to work again.

	Example: C5/B4/SD/A/G/SU/D/E;

The B and C  will have their stems  down, as is normal.  The A and G  will
have their stems up except that SD/  has directed that the stems go  down.
Then SU/ makes the stems of the last two notes go up. Because of  internal
complications in the program  it may be  best to use SU/  or SD/ from  the
beginning of a line if they are to be used at all.




In multi-staff music it is sometimes desired to put some of the notes of a
string either  on the  staff above  the principal  staff or  on the  staff
below. S+1/, (staff above) S-1/ (staff  below) and S0/ (center staff)  are
used for this purpose. (Be sure that you  don't try to put any notes on  a
staff below staff zero!) Usually you will want notes on the staff above to
have their stems down and the notes  on the staff below to have stems  up.
Use SU/ and SD/ for this. Example: SU/F4/G/SD/S+/A/G/S0/SU/F/G/S-/E/F; The
first 2 notes, F and  G are on the principal  staff with stems up. Then  A
and G are on the staff above with  stems down. The next F and G return  to
the principal staff (S0/) with stems up. Finally the last E and F will  be
on the staff below with stems still up.

Ordinary rests are entered as R/. The shape of the rest will be determined
by the rhythm  given later.  To maintain proper  spacing when  there is  a
variable number of voices "invisible rests" (RI/) may be used. The use  of
RI/ will be dealt with later. To put a rest above the staff instead of  in
its usual position type RU/. (Rest, up).  For a rest below the staff  type
RD/ (Rest,  down).  RW/ will  make  a whole  rest  appear no  matter  what
rhythmic value  is given  later. This  is used  in orchestral  scores  for
complete measures of rests. RN/, where n  is a number from 1 to 999,  will
print a whole rest with the number  n above it. RR/ will print the  symbol
for the repeat of the previous measure (./.).

The four principal clefs are referred to by the first two letters of their
names. TR =  treble, BA =  bass, AL =  alto, TE =  tenor. Sometimes it  is
desired to type in a line of music  with no clef at the front. If no  clef
is mentioned the treble clef is assumed.  If you want the notes to  occupy
vertical positions indicated  by some  other clef, type  the clef  letters
preceded by a minus  sign, e.g. -BA/C4/.  In this case  no bass clef  will
appear but the C (middle C) will appear on the first ledger line above the
staff.

The clef may be changed  in the middle of a  line. The first clef on  each
line will always be of  the standard size. Any  further clefs on the  same
line will appear in a smaller size. Only the four main clefs are  provided
for here, but  any clef can  be moved  to any vertical  position with  the
normal editing procedures.

For key signatures type Kna/ where n  = the number of accidentals and a  =
either F (flats) or S (sharps). To make a key signature of naturals,  that
is cancelling out  a previous signature  of either flats  or sharps,  type
KnsN/ where n = the  numbers of accidentals and s  = either a "+" or  "-".
"+" will put the  naturals in the  format of sharps and  "-" will use  the
format of flats.  The actual  position of  the accidental  will depend  on
which clef was last entered for that  line of music. If there has been  no
clef, treble clef is assumed.  Non-standard key signatures may be  entered
outside of the SCORE notation system using code number 9. (See MS.REF)



The time signature, or meter, is entered  in the form Tn,m/ where n =  the
top number of the meter  and m = the bottom  number. To make the  "common"
time signature (C) type  T99,1/. For "alla breve",  T98,1/. To get a  time
signature of a single  number appearing in the  middle of the staff,  type
T0,m/ where m = the number to be printed. A space may be used in place  of
the comma.

Bar lines are entered by means of M/.  (M = measure.) M/ by itself puts  a
bar line from the  bottom to the  top of the staff.  If a number  follows,
Mn/, it will indicate  the total number of  staves, going upward from  the
principal staff, to  be encompassed by  the bar line.  If notes are  being
entered on staff zero and M4/ is typed, there will be a bar line extending
from the bottom of staff zero to the top of staff 3 (four staves in  all).
Negative numbers may not be used. M1/ is the same as M/. MD/ will  produce
a double bar with the heavy bar to  the right, such as is used at the  end
of a composition.  A number may also be used with MD/. To get other  forms
of double bars and repeat bars use MD/ and then edit the result later.

Before going on to rhythmic input it would  be well to try a few lines  of
note input. To get a fresh version  of the program type <CALL>, then R  MS
<cr>. Now type IN <cr>. IN stands for "input". Since no numbers were typed
the default values for parameters 2 through 5 will be used. IN is P1.   P2
= staff  number,  P3 =  particular  input  mode, P4  =  relative  vertical
position of staff, P5 = staff size factor. If no staff at the level  given
in P2 is presently on the screen one will now appear, using the P4 and  P5
values.  Input mode (P3) will be discussed later.

So, at this  point a standard  staff should  appear at the  bottom of  the
screen. the program will tell you, "TYPE NOTES". Try the following:

	TR/K3F/T4 4/E4/G/B/E5/M/D/C/B4/ <cr>
	A/M/G/MD; <cr>

The program  will now  type "POS1,  POS2, (SPC)".  POS1 and  POS2 will  be
numbers indicating the limits (0 to 200)  of your input. The use of  "SPC"
will be covered later. If you type simply <cr> at this point POS1 will  be
taken as 0, POS2 will be 200 and SPC will equal zero. After <cr> is  typed
the notes should appear across the  screen with roughly equal spacing  and
the program will then say,  "TYPE 9 RHYTHMS". If at  this time we want  to
retype the notes, type 99 (99 = Backup) and the message "TYPE NOTES"  will
reappear. (Type  999 to  escape from  SCORE input  mode entirely.)  Having
typed 99, then type the following:

	 BA/K4S/T99,1/PE4/B/GN/FN/M/E2+/TR/E5-/D:B/C:F4/FN:GN:B:DN/M;




For "POS1, POS2, (SPC)"  type 50 150  <cr>. Now notes  will appear in  the
central part of the staff. Check the  results and then type 999 to  escape
from SCORE input mode.

For the next exercise three staves will  be used. The staff zero that  was
created by earlier  having typed "IN"  is still on  the screen. The  three
staves to be used will be created by editing the one already present. Type
I <cr>. This goes into  edit mode for item 1,  the only item now  present.
The central staff for the next example will be staff one. Also the  staves
will be of reduced size, .8. For this type 2 1 5 .8 <cr> <cr>. The  second
<cr> will make the  program exit from edit  mode immediately after  having
drawn the staff one. Now type "I" again.  Then, 2 0 4 6 <cr> C <cr>.  This
puts a copy of item  one back at staff position  zero but now raised up  6
note level units. (P4 = 6) Again type "I". Now we are editing item 2. Type
2 2 4 -6 <cr> C <cr>. A third staff appears, at position 2, moved 6  units
below the standard height. We now have three equally spaced staves.

	For input to go on staff one type IN 1. Now try:

	TR/SU/C4/E/SD/S+/C5/R/A4/M2/G/S0/SU/F/E/ <CR>
	S-/E5/F/G/S0/C4/M2; <CR> <CR>

The second  <cr>  is  the  response  to  the  prompt,  "POS1,  POS2,(SPC).
(Sometimes prompts may be delayed a  few seconds because of time  sharing.
It is always possible to type ahead  of the appearance of prompts just  so
long as one is sure of the results.)

The bar lines will be seen going from  staff one to the top of staff  two.
Later on it will be  explained how these may be  edited to run from  staff
zero to staff two. The clef appears only on staff one. Other clefs will be
made with the edit and copy system.

Using this example we will go on to rhythmic input. The different forms of
rhythmic indications will  be discussed  first. A rhythmic  value must  be
given for each  note (or chord)  and each rest.  The rhythmic value  given
will determine the  note type and  number of  tails, etc, as  well as  the
relative spacing of the note in the string.

The most common rhythmic  values may be entered  with letter names.  S/  =
1/16, E/ = 1/8, Q/  = 1/4, H/ =  1/2. W/ = whole  note, D/ = double  whole
note (longa). Also  G/ = grace  note and T/  = triplet (1/3  of a  quarter
note).  For the other  triple divisions two letters  are used, the  second
letter refering to non-triple value of the note. TS/ = 1/16 note  triplet,
or 1/3 of an 1/8 note. TE/ is the same as just T/. TQ/ = 1/4 note triplet,
or 1/3 of a 1/2  note. TH/ = 1/3  of a whole note.  The letter "T" can  be
used with  these other  letters  only, it  cannot  be used  with  rhythmic
numbers.

Any rhythmic value,  no matter how  complex, may be  entered as a  number.
This number will always be the value of how many such equal units will add
up to the value of a whole  note. Or, put another way, these numbers  will
always be the denominator of the rhythmic fraction where the numerator  is
kept at one. Thus 16/  = sixteenth note, 4/ =  Quarter note, etc. 12/ =  a
triplet, or one third  of a quarter  note. (There are 12  of these in  the
time of whole note.) 20/ = quintuplet,  or one fifth of a quarter note.  A
double whole note would  be typed as .5/.  Unusual rhythms may be  figured
with the following formula:  m = 4  X a /  b. "a" is  the number of  equal
divisions of the number of quarter notes  in the basic time unit "b".  For
example given 7 in the time of a dotted half. a = 7 and b = 3 (there are 3
quarters in a dotted half). n = 4 X 7 / 3 = 9.333. Each note is a  1/9.333
note. Another example: 5 in the time of a quarter note triplet, that is, a
third of a half note. A half note equals two quarters so b = 2/3. n = 4  X
5 / (2/3) = 30.  Each note is a 1/30 note.




Dots and  double  dots may  be  added to  either  the letters  or  numeric
representations of rhythm and both letters and numbers may be used in  the
same line.
	8./8/Q/2/H../ etc.
	
In all the simpler cases, the common rhythms, triplets, quintuplets, etc.,
the proper tails and dots will appear on the notes but some editing may be
necessary in very complex cases. The  spacing of the notes will always  be
done correctly however. At this point  the screen should have the  message
"TYPE 12 RHYTHMS". Try the following:
	Q./8/4/E//S////2/E/;

When consecutive slashes appear, the last  typed number or letter will  be
repeated. In this regard the concluding semi-colon has the same affect  as
a slash. This  same feature  is available  at the  time of  typing in  the
notes.

Remember that  chords  represent a  single  rhythmic unit.  Thus  multiple
slashes following  a chord  will repeat  the entire  chord. D:F:A///  will
produce three D minor chords. Accidentals  on a note or chord followed  by
multiple slashes will disappear after  their first appearance. This is  in
agreement with the traditions of musical notation. D:FS:BF/// will produce
3 chords  but  only the  first  one  will have  accidentals.  If  repeated
accidentals are  desired then  the entire  chord must  be typed  for  each
appearance.

Now notes will be spaced according to their rhythmic values with a certain
amount of space also taken  for the clef and the  bar lines. The CRT  will
have the prompt "ADD MARKS?" The possible responses are "Y", "N", "G",  99
or 999. 999 will escape from SCORE input mode and everthing entered  since
the third staff will dissappear. 99 will  back up to the rhythm prompt.  G
stands for "go" and will exit from  SCORE mode with no further prompts.  N
stands for "no" and will  continue to the next prompt.  Y (= yes) will  be
answered by the prompt "TYPE". Type Y <cr>.

You will have noticed a series of  numbers lined up with the notes on  the
screen. These are  reference numbers  for the  next forms  of input.  Most
marks are  entered in  the  format: note  reference number,  code  letter,
slash, with the last slash of  input being replaced by a semicolon.  There
is an extensive list  of marks that  may be entered  here. A few  examples
will be given.  See MS.REF for the complete list.

	A = accent, S = staccato, T = tenuto, FE = fermato.

The above and several other marks  will become part of the parameter  list
for a particular note.




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/.