To edit the last item entered 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 at level 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, MSS.LCS[UP,DOC].

	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 the staff
number to  which  the  note  will  be attached.  P3 is the 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 an 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 is 1) and the
accidental will be a sharp (the second digit is 2).  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.)