COMMENT ⊗   VALID 00026 PAGES
C REC  PAGE   DESCRIPTION
C00001 00001
C00002 00002
C00008 00003
C00012 00004
C00015 00005	Editing
C00021 00006
C00025 00007
C00030 00008
C00035 00009
C00040 00010		Entering complete lines of music - SCORE input mode.
C00045 00011
C00049 00012
C00054 00013
C00059 00014
C00065 00015
C00069 00016
C00074 00017
C00079 00018
C00081 00019
C00082 00020
C00086 00021
C00091 00022
C00094 00023		Now to complete the work the spacing staff must  be  deleted.
C00097 00024
C00100 00025		An even more flexible way of dealing with the  repetition  of
C00104 00026	
C00105 ENDMK
C⊗;

	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 parameters list for a staff is as folows:

| 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/.