Documente Academic
Documente Profesional
Documente Cultură
2016/02/10
Abstract
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Contents
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1 Introduction
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2 Basic commands
kornaros@aegean.gr
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3 Stacking objects
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3.1 Building brackets and positioning them . . . . . . . . . . . 9
3.2 Construction of initial martyries . . . . . . . . . . . . . . . 11
3.3 An example of the construction of a tower. . . . . . . . . . 12
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Text coloring
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10 Future plans
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11 Acknowledgments
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Introduction
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not correct (for now) spelling mistakes someone will likely make violating
the musical spelling rules of BM. But it provides the opportunity for
easily manual correction of those errors without the need of some extra
automation. It also oers many other possibilities such as easily typing
and interchange of musical documents among the users of the package
and the construction of a large electronic base with BM texts. It also
oers the possibility of notating all the instruments of a traditional folk
orchestra and the works of musicians from countries that have true roots
and tradition in BM, but now use the sta to note down. Generally, with
today's possibilities of TEX osprings any automation or other feature
that may already exist in a notation program for BM could be achieved
with our package and even with the most professional way and totally
free!
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Basic commands
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Example
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Within the font BZByzantina.otf there are many forms of the auxiliary
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, \gPD
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and \g .
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Example
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If we
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Example:
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and
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The \bm is the most useful command for placing a character or multiple
characters or a generally any composite object to a specic point on the
page. It gives us the opportunity to feel like typographers that we could
place our symbols (metallic movable types) on any point of the matrix
as it is used in the good old days ... Its syntax is
\bm[object1, horizontal - displacement1 ,
vertical-displacement1][object2, horizontal-displacement2 , vertical
displacement2] etc...
The horizontal and vertical displacements are determined by small decimal numbers related to the length and height of the (\iso) symbol
of BM. ero value (0) in any direction simply does not move the object
in this direction.
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Example:
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and below
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\bm[\pet,0.12,-0.28] \ypsypskypsoli
The number 0.12 is positive which means a horizontal movement to
the right while -0.28 is negative which means vertically downwards. All
in all petaste was moved downwards and to the right of \ypsypskypsoli
as we would do by hand if we wanted to place the petaste under it.
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\gapot\bm[\dMD,-0.05,0.1]\eteKDD
Stacking objects
The \bm command requires some test and trial to nd the proper shifts
values in order to place our objects to the desired position. If we are
interested only to stack an object above or below another then it is more
preferable to use some other LATEX commands or commands of stackengine
package. For this reason we created some additional auxiliary commands
for the vertical positioning of isokratima, martyries and other symbols.
For placing isokratema over notes we use the command \s. The name
s is derived from the rst letter of the \stackengine command to remind
us the use of this command in the construction of \s. The \marts command is similar to \s but is used in the construction of martyries and
nally the \xrs command is used when we want to introduce time sig-
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Example:
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()
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\s[()][\iso]
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\marts[\padiaa][\dik]
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\xrs[\bbbmchi][\dibm]
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3.1
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We can properly use the \bsline to put braces, brackets, parentheses etc.
of variable height and width directly on the (horizontal) line. Brackets
of variable height are easily constructed with the help of the command
\agkylh. Let us note the dierence:
{
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{
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\agkylh[1]{\{}
and \bsline{\agkylh[1]{\{}} .
The symbols {and } are used exclusively for the construction of LATEX
commands and not for inserting in the text. If we want to introduce
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the braces somewhere in the text then we have to use the backslash \
and type \{ and \}. For this reason we used the symbol \{ inside the
command \agkylh[...]{ ... }. Also, instead of \{ we can alternatively insert some other commands (constructing mathematical gures) or other
simple brackets like (, ), \Vert, \rangle, \langle, \}, \| (but excluding
the brackets ] and [ ). The \bsline{object} is the abbreviation of the
\stackon[0ex]{ }{object } command. The main disadvantage of \agkylh
is that accepts only mathematical shapes of TEX and not something else
such as a letter. All symbols and commands mentioned above are considered mathematical shapes and for this reason can be used as an argument
of \agkylh.
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{
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Example: \agkylh[1]{\{}
and \bsline{\agkylh[1]{\{}} .
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The 1 inside the command sets the amount of the left parenthesis (as
a percentage of the total height of the musical character \iso, ie. 1 = 100
% of the height of \iso) and could be changed to any integer or decimal
value we like.
Instead of \agkylh command there are also \leftbracket[number] and
\rightbracket[number] commands to take the [ and ] with a variable
height.
]
Example: \rightbracket[1]
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Example:
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\thickshape[!][2]{[}
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\thickshape[10pt][1.5]{\bsline{(}}
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3.2
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and \thickshape*[10pt][1]{)}
and
and \thickshape[!][1]{A}
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Martyries show the starting note of the melody from which we begin to
chant. They are not interval signs so they are not chanted. Martyries
are divided in three groups: diatonics, chromatics and enharmnics.
We can use the \stackengine command to achieve our own beautiful
combinations of initial martyries using any text font.
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\bm[\nhdiafMD,0.4,0.1]\mbox{}
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\stackengine{0.5ex}{}{\nhdiafMD}{O}{r}{F}{\useanchorwidth}{L}
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\stackengine{1.2ex}{}{}{O}{c}{F}{\useanchorwidth}{L}
we take ( the 1.2ex determines the vertical distance between the letters
and . We may reduce or increase the 1.2 value depending on the
desired distance). The last example can also be written more simpler by
means of \stackon command as follows: \stackon :
\stackon[0.2ex]{}{}
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3.3
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move to the left all the characters on their right hand side)
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Example:
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\th{\apo}[]\keno\th{\kediam}
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\th{\apo}[]\keno[0.5]\th{\kediam}
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\th{\apo}[] \th{\kediam}
and with an intermediate space)
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\th{\apo}[]\p\p\p\th{\kediam}
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\iso\met\iso
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(tree \p in line)
(a small displacement )
\iso\met[0.5]\iso (a bigger one)
\iso\met[-1.5]\iso\apo
(a problem with negative met: the second equal red iso is shifted too far to the left so the apostrophe is aected
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\iso\bm[\iso, -1.5]\apo
The \bm command always moves
its objects without aecting the other objects around her! Example:
noindent \iso\bm[\padiafD,0.3]\kekediam\iso
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For exact vertical movement of our musical characters or combinations of characters as well as any kind of objects we also created the
command \rbox with syntax
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which is derived from the initials leters r and box of the LATEX command
\raisebox with the help of which the \rbox command is dened. It can
be combined with any other commands such as the \s command.
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Example:
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\s[\rbox[-0.8]{()}][]
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()
()
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up .
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The use of \rbox has a drawback. When we move a character too high
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or too low it will fall into the previous line or the next line. This eect
is not always desirable. For this reason we created a command similar
to the \rbox. The command \rbox* helps us to enlarge the distance
between consecutive lines so that the letters does not cross. This is the
main reason we used the \rbox* rather than \rbox for the construction
of levels in the example above. Of course, for small displacements it is
not preferable to change the distance between consecutive lines, so in this
cases it is better to use the \rbox.
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Example:
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\changetextfont[font name]
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is naturally designed to change the text-font i.e. the font of the text.
Currently there is no option to change the music font because most BM
well-designed musical fonts are not free.
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Example:
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Neohellenic font!
Of course we can return to the default font i.e. our main text font using the command
\normalfont or the \changetextfont[] command with no arguments.
Also, the fonts must have already installed in our computer or TEX distribution or otherwise exists in the same folder of the current music le,
so that the \fontspec package could be able to identify them when the
\changetextfont command is used! It is surprising that we can have hundreds and maybe thousands of fonts ready for use with XETEX without
even the need to be installed! Note that the font name must be correctly
typed and never put space before or after that. So, for example, \changetextfont[ Arial ] could cause a serious problem! Our fonts must be of .ttf
or .oft type.
Another useful and relevant command is \changetextscale that gives
us the ability to change the font size of the text by a percentage and
\changetextcolor that change the text color from black to anything else.
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Example:
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\changetextscale[1.5]
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Example:
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Here we should note that the is not a character of our current font
but a mathematical shape (an arrow dened by the command \Rightarrow) and has been designated exclusively
in TEX. There are hundreds of
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Example:
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\thickshape[!][0.5]{$\color{red}\Rightarrow $} to
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\color{red} \thickshape[!][0.5]{$\Rightarrow $} to
I am colored red!} to I am colored red! I am not!
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and
and {\color{red}
Text coloring
As can be seen from the above examples, the command \color can be used
both to color a mathematical eld and any other text! If we enclose the
\color inside the braces {} then we limit the specic color to those objects
enclosed by these braces. So in the last example, I'm not! remained
black because is outside the braces. If there were no braces around the
\color{red} command then everything after this command would be red!
The command \color could take any of ordinary colors names such
as black, red, green, blue, cyan, magenta, yellow and so on. We could use
thousands of dierent colors (for details see http://texdoc.net/texmf-dist/
doc/latex/xcolor/xcolor.pdf) Due to the great practical usefulness of the
colors we have made two more auxiliary commands using the \color.
One is the \red and the other is \R with dierent syntax each. H \R is
used mostly when we color a character or even a few e.g. some characters
inside the \th command.
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Example:
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Example:
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Example:
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Besides the above \change commands we could also use \changemusicscale to re-size our musical symbols by a percentage and the \changemusicsize command to change the size of musical symbols. Their default
values are 1 and 22 respectively, but we could give any other value. 1
means 100% i.e. no zooming in or out while 22 means 22 pt (points).
We also concerned of isokratema symbol. The \changeisokrathmasize
command changes the size of the isokratema font.
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Example:
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\changemusicscale[0.8]
! and
\changemusicsize[40] \changeisokrathmasize[30]
()
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Example:
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\\\changeletterspace[20]
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After we write our whole paragraph we should nalize with \end {changetolerance } The commands starting with \begin and end with the \end{name of the
command} are called environments in the terminology of
LATEX . \ \
\changeletterspace[]
\begin{changespaceskip}[0][-1][1]
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Afterwewriteourwholeparagraphweshouldnalizewith\end{changetolerance}Thecommandsstartingwith\beginandendwiththe\end{nameofthecommand}arecalledenvironmentsintheterminologyofLATEX.\\
\end{changespaceskip}
\begin{changespaceskip}[5][][]\\
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After we write our whole paragraph we should nalize with \end {changetolerance } The commands starting with \begin and end with the \end{name of the
command} are called environments in the terminology of
LATEX. \\
\end{changespaceskip}
\begin{changespaceskip}[][5][] \\
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Afterwewriteourwholeparagraphweshouldnalizewith\end{changetolerance
} The commands starting with \begin and end with the \end{name of the
command} are called environments in the terminology of LATEX. \\
\end{changespaceskip}
And nally the original text:
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8.1
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Example:
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(for information
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greektonoi/greektonoi.pdf)
http://ctan.sharelatex.com/tex-archive/language/greek/
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to get . We should note here that acute (\) does not coincide
with the (acute) of the monotonic system in some polytonic fonts.
So the letter with acute does not coincide with letter with tonos. But
this dierence will only be visible if we have a well-designed polytonic
font in our computer. Finally, if the use of the pair of braces {} between
the syllables looks embarrassing then we can put somewhere in the text
before we start writing polytonic the \tildeON command which causes
the tilde (tilde) ~to play the role of double {}. For example, the word
is easily converted to polytonic by typing the appropriate command . Due to this particular use of ~ after the \tildeON, if
we need to explicitly insert somewhere the tilde symbol then we could
to use the command \char plus its hex value: \char"007E. We should
insert \tildeOFF immediately after the end of the polytonic text to return
to the normal use of the tilde in TEX.
10
Future plans
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www.stanthonysmonastery.org/music/ByzMusicFonts.html)
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Acknowledgments
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We will give two simple examples using several commands from our
package. The rst example is the Lord Have mercy for 5 voices
of Emmanuel Vamvoudaki. This is a translation and adaptation of
Vamvoudakis from the Russian original song and it is in the book "New
Anthology" Emmanuel Vamvoudaki - Samos 1921. We used the command \Longstack[r] to create the command \pyrgos for the construction of oors. This command is not in byzantinemusic package but in the
preface of byzantinemusic.tex. Each oor usually gets a single note and
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its syllables. We did this so that each tower is not very wide and consequently our musical text can be suciently well aligned in TEX without
going out from the right margin. We used the command \agkylh[6.5]
{\{} to insert the large brace at the beginning of the musical text. Also for
the construction of the small hyphens, we used the command \agkylh
* (eg \agkylh *[0.5] {) }) although we could also use the commands
\yfa, \yfk (see below in the list of symbols) that is made from BZ-fonts
without using any mathematical commands. Certainly \agkylh * is the
recommended command in case of very large hyphen because it gives a
uniform thickness throughout the length of the hyphen (irrespective of
its size and regardless of the font used). The musical measure 44 of the is
written using the mathematical command \frac that has the capacity
to make fractions: $ \frac {4 } { 4 } $. We zoomed this fraction a bit
with the command \thickshape[!][1]. We could, if we wanted, made a
dierent construction of the oor that gives us the ability to put many
musical notes at the same level of the stack. This command is called
\pyrgosh. In this way the notes of each voice is more condensed but we
must be careful how many notes we are going to insert at each level of
the stack because otherwise there is a great chance to fall out the margin!
Below, we wrote only the rst measure of the hymn using this tower to
see the dierence.
The second example is an old traditional and well-known song from
the Lydia province of the unforgettable Greek Asia Minor. It uses
the changespaceskip environment with zero width between the musical
words throughout its extent ie. it starts with \begin {changespaceskip
}[0][][]. In the title of the piece we used each of the \changetextbold,
\changeletterspace, \changetextslant commands for better appearance.
Also we used \changetextscale[1.5] command to increase letters' size by
a percentage and came back soon after, once we nished the construction of the song's title, in the default size using the command \changetextscale[1] or simply \changetextscale[]. We easily centered the title with
the command \kentro. The remaining verses after the track are placed
using the environment \begin {verse } ... \end {verse } of LATEX.
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( )
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;
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!
,
,
,
!
.
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13
.
.
, o iso , oxe , oli
, pet , k , xk
, yps ( ypsD)
, yps ( ypsA) ,
kk , g , gg
., t , tt ., p
g, gg, ggg ., synela ,
apo , xapo
oli, ela , ypo
and xam .
and anw(=)
and kat(=)
(.. Xanw= 10
) . p
g pg and
gp. ,
and \syn
\th.
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Example:
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\th{\synela}[\ne e]
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\syn{\ela }[\ne e]
818
13.1
and
Result
Command
Result
\isopet
\pet
\olipet
\kpet
\ypspet and
\ypsDpet
\iso
\oli
\olixk
\koli
\ypsoli and
\ypsDoli
32
\olixkantt and
\olixkantapl
\oxe
\k
\gkkoli
\olikkantt
\kk
\olikkD
\kkoli
\ypskkoli
\ypsAoli and
\Vanwoli
\VIanwpet and
\kypspet
\VIIanwpet and
\ypskpet
\VIIIanwpet and
\ypsypspet
\kkypsoli
\Vanwoli and
\ypsAoli
\VIanwoli and
\kypsoli
\VIIIanwoli and
\ypsypsoli
\IXanwpet and
\ypskkypspet
33
\XIanwpet and
\ypsypskpet
\XIIanwpet and
\ypsypsypspet
\XIIIanwpet and
\ypsypskkypspet
\XIVanwpet and
\ypsypskypspet
\IXanwoli and
\ypskkypsoli
\Xanwoli and
\ypskypsoli
\XIanwoli and
\ypsypskoli
\XIIanwoli and
\ypsypsypsoli
\XIIIanwoli and
\ypsypskkypsoli
\XIVanwoli and
\ypsypskypsoli
\XVanwk
\kkypsolik
\XVanwpet
\isokkoli
\isokkoxe
\olixkant
\ggkkoli
\Xanwpet and
\ypskypspet
34
\olik
\kkolik
\ypskkolik
\ypsAoxe
\VIanwoxe and
\kypsoxe
\VIIanwoxe and
\ypskoxe
\VIIIanwoxe and
\ypsypsoxe
\isooxe
\oxexk
\oxek
\koxe
\ypsoxe and
\ypsDoxe
\ypskkoxe
\oxexkant
\ggkkoxe
\gkkoxe
\XIanwoxe and
\ypsypskoxe
\XIIanwoxe and
\ypsypsypsoxe
35
\kkypsoxe
\oxekkD
\kkoxe
\IXanwoxe and
\ypskkypsoxe
\Xanwoxe and
\ypskypsoxe
\isooli
\isoapo and
\isoxapo
\apokkoli
\apoapo and
\apoxapo
\synelapet
\apopet
\elapet
\elaapopet
\gypo
\ypopet
\synela
\apo
\ela
36
\elaapo
\xam
\ypo
\apooli
\ypooli
\xamoli
\elaoli
\elaapooli
\synelakkoli
\xamkkoli
\elakkoli
\elaapokkoli
\gpypo
\pgypo
\pggypo
\ggypo
\pgggypo
\gggypo
37
\gypokkoli
\ypokkoli
\gggypokkoli
\gggypokkoli
\gpypokkoli
\pgypokkoli
\ggpypokkoli
\pggypokkoli
\gggpypokkoli
\pgggypokkoli
\xampet
\Vkatpet and
\xamapopet
\xamapo
\VIkatpet and
\xamelapet
\xamela
\xamelaapopet
\xamelaapo
\xamxampet
38
\xamxam
\xamxamapopet
\xamxamapo
\xamxamela
\XIkat and
\xamxamelaapo
\XIIkat and
\xamxamxam
\XIIIkat and
\xamxamxamapo
\XIVkat and
\xamxamxamela
\XVkat and
\xamxamxamelaapo
\gypokkoxe
\pggypokkoxe
\pgggypokkoxe
\ypokkoxe
\ggypokkoxe
\gggypokkoxe
\synelaoxe
\apokkoxe
39
819
820
821
822
13.2
\elakkoxe
\elaapokkoxe
\xamkkoxe
\gypooxe
\synelaoxe
\apooxe
\elaapooxe
\xamoxe
\ypooxe
\oliapo
Rests
(bar) (t)
. bart and pay
. .
Command
Result Command
Result
\bart and
\pay
\bartt
\barttt
\bartttt
40
823
13.3
\bartg and
\bargt
\bartgp and
\bargpt
\bartpg and
\barpgt
Qualitative signs
837
.
ete(ete), oma(oma), lyg(lyg), tro (tro),
eks (eks), pia (pia), par (par), ant (
ant), anm ( m an), psh (psh) and
psa (ps a ).
,
\bm and
.
M, MD, K
. , , \etepsaKD
ete and psa (K) and
(D) iso (
iso). .
838
Example:
839
\oli\eteMD \iso
824
825
826
827
828
829
830
831
832
833
834
835
836
840
841
842
843
41
844
845
846
847
848
\oli\eteMDD\iso\psaM and \olieteMDD \iso \psaM
\isopet\eteMDD\apogkkoli and \isopeteteMDD \apogkkoli
Example
Command
Example
+\eteMDD
\eteKDD
\eteMD
\eteM
\eteD
\ete
\omaK
\omaM
\omaMDD
\omaMD
\omaKD
\omaKDD
42
\lygMDD
\lygMD
\lygM
\troM
\troMD
\eksMD
\eksM
\piaMD
\parP
\parPD
\edoKD
\eteMDD
\pshM
\pshMD
\psaM
\psaK
\antM
anmMD
43
\antK
\antK
\anmM
\antK
\anttM
\anmtMD
\anmtM
\anttK
\olieteMDD
.
\bm.
\isopeteteMDD
\apoete
\olikketeKDD
\petant
\olikant and
\oliantk
\petantt
\olikantt and
\olianttk
\etepsaKD
\etepsaKDD
44
849
850
851
852
853
854
855
13.4
, and t, tt
and ttt .
\t ( and )
\bm
.
.
Command
Example Command
Example
\oli\tM
\iso\ttM
\iso\tttM
\apo\tMD
\apo\ttMD
\apo\tttMD
\ypo\tMD
\ypo\ttMD
\ypo\tttMD
\apoapo\tKD
\apoapo\ttKD
\apoapo\tttKD
\oxe\tM
\xamoli \tM
45
Dicult cases
\xamxamapot and
\IXkatt
\Xkatt and
\xamxamelat
\isoapot
\oliapot
\elat
\elaapot
\pett
\olitk and
\olikt
\xamt
\olixkt
\XVkatt
\xamxamapopett and
\IXkatpett
856
857
858
859
860
861
862
863
864
865
13.5
To : \isa and
\isk. (D )
(
). and
\agkylh
. , ,
. \yfma(
46
871
), \yfmk(
) \iso \yfa and
\yfk and
.
,
\bm .
872
Example:
873
\iso\isaA
874
\apo\isaD
866
867
868
869
870
875
876
\isa\iso \iso\yfmk\iso
\iso\iso\yfa[3.5]\iso\iso
Command
Example
Command
Example
\isk
\isaA
\isaD
\isa
\yfma
\yfmk
\yfk
.
\yfa
47
877
13.6
892
H kla ().
. kla, klaA, klaD
, , klaM, klaMD,
klaKD, ,
.
. \iso\kla
\klaiso. \iso\kla
\isokla ( ,
M,D, DD .
and
). \tsa ()
\kla.
893
Example:
894
\pet\tsaKD
895
\synela\kla
896
\klaapoolipsh
878
879
880
881
882
883
884
885
886
887
888
889
890
891
Command
Example Command
Example
\klaM
\iso\tsaM
\iso\kla
\oli\tsa
48
897
898
899
900
13.7
\apo\tsaD
\ypsoli\klaA
\pet\tsaK
\pet\klaKD
\ela\klaK
\elaapo\klaK
\synela\kla
\ela\kla
\isopet \klaK
\xamapo\klaD
\xamela\klaPD
\klaP
p p. T g \g
\bm
.
Command
Example Command
Example
\iso\g
and \giso
apo\gD
\and \gapo
49
\ypo\gDD
\gypo
\ypokkoli\gPA
\kkoli\gP and
\gkkoli
\oli\gM
and \olig
\isokkoli\gPD
\xamkkoli\gPD
\apokkoli\gPD
\elakkoli\gPD
\isoapo\gDD
\oli\g\k and
\golik
\ela\g
and \gela
\apo\gMD
and \apog
\kk\gMD
and \kkg
\xam\gD
and \gxam
\xam\gMD
and \xamg
\gapo and t
\gapo\tMD
and \gapot
and
\kkoli\ggP
\kkoli\gggP
50
\ypo\pggDD
\ypo\ggDD
\ypo\pgggDD
\ypo\gggDD
\ypokkoli\gggPA
\ypo\ggpDD
\ypo\gggpDD
\ypokkoxe\gPA
\ypokkoxe\ggPA
\ypokkoxe\gggPA
\gIV
\gVI
\gV
\gVII
Dicult cases
\apoapog and
\apogapo
\elag
\elaapog
\elaapogp and
\elaapopg
51
and
901
\xamelaapog
\gkkypsoli
\gxamelaapo
\ypog
\synelagkkoli
13.8
Example Command
Example
\arg
\diaD
\tri
\dia
\parg
\argp
\diap
\pdia
\trip
\ptri
52
902
13.9
903
904
905
906
907
908
909
910
911
912
913
914
915
Command
Example Command
Example
\sta
\staP and
\staD
\ana
\kor
\korD
\korP
\korPD
13.10
l L .
syn
( syn
).
.. \VII. I
l . L
.
and A(= \iso).
\th and
.. \LIIIth
53
916
Example:
917
\iso\l\VIII
Command
Example Command
Example
\lA
and
\lMD
\llA
\l
\ll
\lsyn
\lsynA
\V
\VI
\VII
\VIII
\L
\LL
54
918
919
920
\Lsyn
\II
\IIA
\III
\IIIA
\IV
\IVA
\VA
\VIA
\VIIA
\VIIIA
13.11
Example Command
Example
\y
\yD
55
\yl
\ylD
\yll
\yllD
\ylll
\yllD
\dM
\dMD
\dlM
\dlMD
\dllM
\dllMD
\dlllM
\dlllMD
Dicult cases
\elad
921
922
923
13.12
and
. a(=)
56
930
\marts
k(=) . b
and plab
. dia
and ton .
\marts.
931
Example:
932
\marts[\pa][\paplab]
924
925
926
927
928
929
\marts[\nhdia][\gak]
935
936
933
934
\marts[\di][\rbox[-0.8]{\yD}]
Command
Example
Command
Example
\pa
( )
\boy
\ga
\di
\ke
\zw
\nh
\paton
57
\boyton
\gaton
\diton
\keton
\dik
( )
\kek
( )
\gak
( )
\boydiaa
( )
\paplaba
()
\paplabk and
\paplab
\nhdiak and
\nhdia
( )
\nhdiaa
\padiaa
( )
\padiak and
\padia
( )
\gadiak and
\gadia
\boydia and
\boydiak
( )
gadiaa
\didia
58
)
)
)
\diplaba
( )
\tha
\diplabk and
\diplab
( )
\zwdiak
and \zwdia
\kedia and
\kediak
( )
\kebk, \nhtonbk,
and \pab, \keb,
\nhtonb
( )
\gaD
\diD
\keD
\zwD
\nhD
\paD
\boyD
\paMA
\diMA
\gaA
59
937
938
939
940
941
942
\diA
\keA
\zwA
\nhA
\paA
\boyA
13.13
. , \nhdiam
\nhnhdiam.
m
m.
Command
Example Command
Example
\nhdiam
\padiam
\zwdiam (
\zwzwdiam)
\boydiam
\gadiam
\didiam
\kediam
\zwtondiam (
\zwtonboydiam)
60
\nhtondiam(
\nhtongadiam)
\patondiam
\boytondiam
\gatondiam
\ditondiam
\ketondiam
\zwtontondiam
\nhtontondiam
.
\kekdiam
( \padiakem)
.
\gakdiam
( \gadiagam)
.
\pakdiam
( \padiapam)
.
\dikdiam
( \nhdiadim)
.
\boykdiam ( and
\boydiaboym)
.
\nhkdiam
( and
\nhdianhm)
. '
\paplabm
. '
\boyplabm
. '
\gaplabm
. '
\diplabm
61
. '
' \zwtonplabm
. '
\nhtonplabm
. '
' \patonplabm
\digadiam
'
\nhbm
' .
\pabm
' .
\boybm
' .
\gabm
' .
\dibm
' .
\kebm
' .
' \zwtonbm
' .
' \nhtonbm
\nhtondiplabm
. .
\nhgadiam
. .
\panhdiam
. .
\boypadiam
. .
' \zwtongadiam
. '
\keplabm
62
. .
' \nhtondidiam
943
13.14
. .
' \boytongadiam
950
h .
, , , and
\ahxo, \bhxo, \ghxo, \dhxo and \barhxo.
'
.
\tesh and
.
951
Example:
952
\kediah\tesh
953
\synelah\gaboydiah\tosh
944
945
946
947
948
949
954
\lph\kediah\rbox[-0.2]{\kediaypsolikeh}
955
\zwh\ypskolizwdiah
956
\teskediah\kediakeh
957
\padiaypsolih \keh
958
\synelah\boyh
, \boydiah\tosh
, \pah\paplabfPD
63
Command
Example
Command
Example
\plah
\hxoh and
\hxosh
\atonh
\btonh
\gtonh
\dtonh
\amtonh
\bmtonh
\gmtonh
\dmtonh
\barysh
\tosh
\dhxoh
\didiah
\ahxoh
\kediah
64
\bhxoh
\dibh
\barhxoh
\ttghxoh
\ghxoh
\olikkh
\paplabpahxoh
\tesh
\dibdihxoh
\boybboyhxoh and
\dibboyhxoh
\gah
\dih
\keh
\zwh
\nhh
\pah
\boyh
65
\nhdianhh
\nhdiagah
\didiadih
\tesdidiah
\dibdih
\diplabtesdidiah
\dibboyh and
\boybboyh
\gaboydiah
\kediaypsolikeh
\ypskolizwyh
\padiapah
\pah\paplabfPD and
\paplabpah
\kolinhdiah
\ypskolizwdiah
\kediakeh
\kolidiplabh
\dibdididiah
\barhxozwyh
66
\dibdidibh
\padiaypsolih
\dibkolih
\ypskoligadiah
\boydiah
\koligadiah
\koligadiadiplabh
and
\kolidiplabgadiah
\synelah
\gagadiah
\ypskdidiah
959
13.15
\ypsk
\ypskkediah
962
963
Example:
960
961
()
964
965
\th{\s[(M)][\iso]}[]
\belk , \bela
67
966
967
968
(-)
(
\oy)
\n and \ne
13.16
Tempo signatures
973
( b),
and (x). P and mchi
m. P
.
. mchi \xrs.
974
Example:
969
970
971
972
975
976
977
978
\th{\xrs[\bbbmchi][\dibm]}[]
P
:
\dibm\bbbP
Command
Example Command
Example
\bbbP
\bbb
\bb
\bP
\b
\bxP
68
979
980
981
982
\bx
\xP
\x
\xxP
\xx
\xxxP
\xxx
\bbP
\bbbmchi
\bbmchi
\bmchi
\bxmchi
\xmchi
\xxmchi
\xxxmchi
13.17
f
. .
'
69
983
984
985
986
M, MD and .
.
and \iso.
Command
Example
Command
Example
. '
\paplabfD
and \keplabfD
'
\dibfD and
\nhbfD and
\boybfD
( ') '
\kebfD,
\nhanwbfD
and \pabfD
. '
\diplabfD
\gyfD, \gyD
\zygfD,\zygD
\klifD,\kliD
\gdfD,\gdD
',
\zwyfD,\zwyD,
\gayfD, gayD
\thaf
\thafM,\thaM
\nhdiafD
\padiafD
\boydiafD
\gadiafD
\spafD, \spaD
70
987
988
989
990
991
992
993
994
995
996
997
998
999
1000
1001
1002
1003
1004
1005
1006
\kediafD
'
\zwdiafD
'
\nhanwdiafD
' .
\nhanwdiaf
' .
\nhanwdiafMD
\didiafD
13.18
Polytonic texts
"''
Junicode (https://www.ctan.org/tex-archive/fonts/junicode)
and .
Arial .
(?) .
\changetextfont[Junicode]. , '
~ \tildeON greektonoi
( ). ~
. ( \tildeON
~ {}). and
greektonoi documentation
.
. .. \ .
(.. ) and
(.. ).
Junicode.
Command
Example
Command
71
Example
\;
\>>
.
\<<
\ .
\~
\~
\~
\~
\~
\~
72
1007
\~
\~
73