https://wiki.ccarh.org/api.php?action=feedcontributions&user=Edc&feedformat=atomCCARH Wiki - User contributions [en]2024-03-29T10:10:21ZUser contributionsMediaWiki 1.33.0https://wiki.ccarh.org/index.php?title=MuseData:_Antonio_Vivaldi&diff=11739MuseData: Antonio Vivaldi2022-09-28T22:35:16Z<p>Edc: /* Op. 12: Sei concerti */</p>
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==Published Sonatas and Concertos==<br />
Antonio Lucio Vivaldi (1678-1741) is best known to modern audiences for his instrumental music. Like most composers of his time, Vivaldi composed in the formal medium of the sonata in his earliest publications (from 1703). His reputation was propelled by his concertos, the earliest of which appeared in 1711. This is still the genre with which he is most widely associated. <br />
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===Op. 1: <i>Suonate da camera a trè, due violini e violone o cembalo</i>===<br />
Vivaldi's twelve sonatas Op. 1 are presumed to have been published prior to his appointment as <i>maestro di violino</i> at the Ospedale della Pietà, Venice, because he is described without reference to the institution as "<i>musico di violino, professore veneto</i>" (a violinist and teacher in the Veneto). The works were dedicated to the count Annibale Gambara, one of five sons in a big family of noblemen from [https://en.wikipedia.org/wiki/Brescia Brescia] (the city in which Vivaldi's father was born), a provincial capital in the western Veneto. The Gambara also had a modest palace on the Grand Canal in the Venetian parish of San Barnabà. <br />
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[[File:Op1-12_Folia_V1.png|400px|thumb|center|Excerpt from the Violino primo (first violin) part of the Folìa of Vivaldi's Sonata Op. 1, No. 12 (Venice: Giuseppe Sala, 1705). Image from the partbook in the Conservatorio Benedetto Marcello, Venice. Used by permission.]]<br />
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These trio sonatas contained various numbers of movements (3 to 6), most in binary form. The four outer works (Nos. 1, 2, 11, and 12) were in minor keys, the others in major ones. The best known work is Op. 1, No. 12, an ambitious set of variations on the <i>folìa</i>. Vivaldi may have been inspired by [http://scores.ccarh.org/corelli/op5/corelli-op5n12.pdf Arcangelo Corelli]'s set of Folìa variations [http://scores.ccarh.org/corelli/op5/corelli-op5n12.pdf Op. 5, No. 12] (1700), but the trio texture changes the dynamics of the realization substantially.<br />
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The earliest surviving print of Op. 1 was published in Venice (G. Sala) in 1705. Only fragments of it survive today in the library of the "Benedetto Marello" Conservatory in Venice. Vivaldi's collection was reprinted in Amsterdam in 1723 (E. Roger, as print No. 363), in Paris in 1759 (Le Clerc), and in Austria in 1759. Many movements are brief and musically simple, so much so that were one to judge from this opus alone, one would not have anticipated the kind of success that Vivaldi later found.<br />
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{{VivaldiOp1PDF}}<br />
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===Op. 2: <i>Sonate a violino e basso per il cembalo</i>===<br />
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[[File:Carlevaris_FredIV_viaGetty-Google.png|575px|thumb|left|Detail of Luca Carlevaris's depiction of the regatta held on the Grand Canal, Venice, for Frederick IV of Denmark (1709). Reproduction of public-domain image from the Getty Museum as shown in the Google Art project.]]<br />
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The trio sonata, over which Vivaldi had exhibited his command in Op. 1, had been the most prevalent instrumental genre of the 1690s, but in the first decade of the eighteenth century interest began to gravitate towards the "solo" sonata--a work in several movements for one ensemble instrument and a basso continuo. In this 1709 collection by the Venetian publisher Antonio Bortoli, Vivaldi pursued a more expressive vein of musical enticement. The opus was dedicated to the visiting young monarch Frederick IV of Denmark. As prince of Schleswig-Holstein, his extended stay drew much artistic attention. No fewer than three operas were dedicated to him. <br />
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Seven of these sonatas were cast in minor keys. (An asterisk (*) indicates a transcription using the key signature of the original print, while ** indicates a modernized key signature.) The movement structure of these early prints remained variable. Vivaldi was moving in the direction of fewer movements but in coincidence we find greater musical elaboration within longer movement. The composer was still described as a <i>musico di violino</i> but also as <i>maestro dei concerti</i> (concertmaster) of the [https://en.wikipedia.org/wiki/Ospedale_della_Piet%C3%A0 Ospedale della Pietà]. <br />
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{{VivaldiOp2PDF}}<br />
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Like Op. 1, Op. 2 had a long afterlife in both reprints and manuscript copies, mainly abroad. These included the publications of E. Roger (Amsterdam, 1712) and several editions (1721-1730) by I. Walsh J. Young (London).<br />
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===Op. 3: <i>L'estro armonico: Concerti</i>=== <br />
[[File:Ferdinando_de'_Medici_c1687_Cassana.jpg|300px|thumb|right|Portrait of Ferdinando de' Medici, grand prince of Tuscany, in <i>c</i>1687 by the Venetian painter Niccolò Cassana. Wikimedia Commons.]]<br />
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The first concertos by Vivaldi to reach print were those of Opus 3 (Amsterdam, 1711). With them Vivaldi suddenly became a celebrity, for although he was well known as a virtuoso, his previously published works had found a relatively modest reception. Vivaldi's titles remained as they were in Op. 2. Most composers described the contents of a publication in sufficient detail to indicate instrumentation, but Vivaldi settled for the word "Concerti" in order to allow space for the titles of his patron, the Grand Prince of Tuscany, [http://it.wikipedia.org/wiki/Ferdinando_de%27_Medici#Teatro Ferdinando III (1663-1713)]. The Grand Prince, who led a flamboyant life, enjoyed his visits to Venice, where however he contracted syphilis in 1696. This led to his premature death and changed the course of Tuscan (and imperial) history. Meanwhile, however, his patronage of music benefited many composers of the time including [http://en.wikipedia.org/wiki/Tomaso_Albinoni Tomaso Albinoni (1671-1751)], [http://en.wikipedia.org/wiki/Handel George Frideric Handel (1685-1759)], and [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Alessandro Scarlatti (1660-1725)]. His Bavarian wife, [http://it.wikipedia.org/wiki/Violante_Beatrice_di_Baviera Violante Beatrice (1673-1731)], was in many ways a still more significant supporter of individual singers and instrumentalists. <br />
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Having now completed eight years of teaching at the [[Ospedale of the Pietà]] in Venice, Vivaldi shows himself to have experimented with a variety of approaches to textures and groupings of instruments. These twelve works are arranged cyclically, such that Nos. 1, 4, 7, and 10 are scored for four violins and string orchestra; Nos. 2, 5, 8, and 11 for two violins, violoncello, and string orchestra; and Nos. 3, 6, 9, and 12 for solo violin (Violino Principale) and string orchestra. Within the <i>concertino</i> groups (four violins or, alternatively, two violins and violoncello), there is further separation. The "four violins" model often involves the pairing of the instruments such that one duo imitates another. This kind of experimentation is suggested by the word <i>estro</i>, which refers to gestational properties whereby one musical passage generates the need for the next. In musical terms, the sophistication of the idea represented an enormous step forward for Vivaldi, whose first sonatas were primitive and somewhat generic by comparison. <br />
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Additionally, the music was more cogent than before, the organization manifestly rational. The imaginative scoring, careful markup, and newly pungent musical effects were novelties not found in Opp. 1 or 2. If he had leaned on the familiar models of [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Arcangelo Corelli (1753-1713)] before, Vivaldi was now producing music that was novel, ambitious, and aesthetically pleasing. Largely in coincidence with this publication, Vivaldi's concerts at the Pietà began to win plaudits from a succession of visiting dignitaries from abroad. <br />
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Within the context of the early concerto, Op. 3 was equally noteworthy. The now elderly Corelli had perfected the <i>concerto grosso</i> [his [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli#The_Concerti_grossi_Op._6 Op. 6] would be published only posthumously in 1714]. Vivaldi's concertos for two and four violins had some debts to these works, but his concertos for solo violin and orchestra did not have Corellian models to follow. The trumpet concertos by [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Giuseppe Torelli (1658-1709)] are an oft mentioned alternative model, but Vivaldi's skills at articulation and exhibitionism were unrivaled. The violin was capable of much greater subtlety than the trumpet. <br />
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====Dissemination of Individual Works from Op. 3====<br />
The <i>Concerti</i> Op. 3 were so popular that the entire opus was reprinted in Amsterdam within a year. Other reprints followed in both London and Paris through 1751. Because of the cyclical rotation of different combinations of instruments from work to work, individual pieces in Op. 3 led themselves to diverse uses. The basic organization is shown in the table. Parsed one way, it is a four-fold cycle of three works. The textures vary with the instrumentation.<br />
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Several works from Opus 3 took on lives of their own. Six works (indicated by an asterisk*) were transcribed by J. S. Bach, and there are faint clues that Bach may have transcribed them all. Bach was highly sensitive to the cyclical instrumentation of Vivaldi's collection: Nos 1, 4, 7, and 10 were set for two pairs of solo violins; Nos. 2, 5, 8, and 11 for a trio of soloists (two violins and violoncello); Nos. 3, 6, 9, and 12 for principal violin, in all cases with string orchestra. As the table below shows, Bach chose the second type for an organ adaptation and the third type for concertos for harpsichord and strings, while the first type served as a model for his lone concerto for four harpsichords and strings. The trio sonata, which was at its peak in the years 1700-1710, was a popular reservoir for organ transcriptions in Germany, but the other adaptations had no such currency. Concertos for four harpsichords were unknown. <br />
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Wide circulation of Vivaldi's concertos was further stimulated by John Walsh's edition of Op. 3 in <i>c.</i> 1715. In this print, the order of Nos. 6-9 was altered so that these concertos became Nos. 8, 9, 6, and 7. The clavichord transcriptions of Anne Dawson include many works in Vivaldi's Opp. 3 and 4 and show a further dimension of the music's adaptation. Numerous transcriptions and copies survive in Europe and North America.<br />
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====CCARH Scores and Parts for Opus 3====<br />
[[File:Op3DoverCover.jpg|100px||left]]<br />
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CCARH cooperated with Dover Publications Inc. in producing the scores that appear in <i>L'estro armonico: Twelve Concertos for Violins and String Orchestra, Op. 3</i>. The cover is shown below. The collection entitled <i>L'estro armonico</i> was the first title under Vivaldi's name to draw widespread attention. It is likely that some of the works had already been performed in selected gatherings. They were profusely copied, arranged, and reprinted (with numerous variants) over the next few decades. <br />
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For bound paper copies, see Vivaldi, Antonio. <i>"L'Estro armonico", Op. 3 in Full Score: 12 Concertos for Violins and String Orchestra</i>, ed. Eleanor Selfridge-Field (Mineola, New York: Dover Publications; 1999). Available from Amazon [http://www.amazon.com/exec/obidos/tg/detail/-/0486406318/themefinder/002-2800507-6138416 ISBN 0-486-40631-8] and Dover [http://store.doverpublications.com/review.html?pr_page_id=0486406318 ISBN 0-486-40631-8].<br />
</ul><br />
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{{VivaldiOp3PDF}}<br />
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The transcriptions as a group are available here.<br />
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===Op. 4: <i>La Stravaganza: Concerti in six parts</i>===<br />
Vivaldi's violin concertos Op. 4 (announced in London on January 1, 1715) achieved a much broader penetration of the European market than any previous publication of his music. The collection, published in Amsterdam as Estienne Roger's prints Nos. 399 and 400, bore the title <i>La Stravaganza</i> (The Extravaganza), a designation popular at the time. In musical contexts it usually referred to chromatic harmonies, but in Vivaldi's case it forewarned prospective players of the challenges posed, epsecially for the principal violinist. (Up to this time, Roger had principally offered trio sonatas and concerti grossi, which were less demanding.) <br />
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Op. 4 was a compendium of virtuoso techniques that were popularized by Vivaldi, who, as a performer, was known far and wide for his daring. His near-peers in this regard were violinist-composers such as Tomaso Albinoni and Lodovico Madonis, but their most demanding works appeared some years later and were less widely distributed. Op. 4 was dedicated to a Venetian nobleman, Vettor Delfin, whose family were largely engaged in military affairs. With only one exception (Op. 4, No. 7), the concertos were written in three movements. <br />
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At the time Op. 4 appeared, Vivaldi had been filling holes left by the departure of [http://it.wikipedia.org/wiki/Francesco_Gasparini Francesco Gasparini (1661-1727)] at the Pietà. He was now turning his attention to motets and oratorios <i>per force</i> to bridge the gap left by Gasparini. It is therefore likely that most of these pieces were composed before the elder <i>maestro</i>'s departure. Reprints of Op. 4 appeared in 1723, 1728, and 1730, but selected individual works enjoyed independent circulation. Vivaldi had now reached the point where demand for his instrumental music exceeded the amount of time he could afford to devote to it. It may be for this reason that echoes of Op. 4 appear in a few later works by Vivaldi. Op. 7, No. 1, for example, was a first cousin of Op. 4, No. 9; myriad other variants of this set were quoted in later works. The cumulative effect was a splintering of work-identities that still confuse musicians today. Vivaldi himself adapted many of his works to suit new purposes as appropriate occasions arose. <br />
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{{VivaldiOp4PDF}}<br />
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===Op. 5: <i>VI Sonate/quatro à violino solo e basso e due a due violini e basso continuo</i>===<br />
Four of the six sonatas of Op. 5, published in Amsterdam (1716) as Estienne Roger's print No. 418, may have been remainders of Vivaldi's Op. 2, an opus consisting of a dozen solo violin sonatas. In Op. 5 we find four solo sonatas and two trio sonatas. During the visit of the young Danish king Frederick Christian IV to Venice in the winter of 1709, a great many banquets and balls were planned. Easily half of them were canceled either by hosts or guests because many people (including the doge and one of the Republic's official hosts) died. No autograph material for this opus survives. Op. 2 had been dedicated to Frederick Christian, but Op. 5 was an orphan of sorts. It contained a mixed repertory, lacked a dedicatee, and found insufficient popularity to prompt reprints. Few works were copied in manuscript. An exception was the first movement of Op. 5, No. 6, which was included in J. B. Cartier's <i>L'Art du Violon</i> (Paris, 1798). <br />
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{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 5, No. 1 || RV 18 || Sonata / V, Bc || F Major || Example<br />
|-<br />
| Op. 5, No. 2 || RV 30 || Sonata / V, Bc || A Major || Example<br />
|-<br />
| Op. 5, No. 3 || RV 33 || Sonata / V, Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 4 || RV 35 || Sonata / V, Bc || B Minor || Example<br />
|-<br />
| Op. 5, No. 5 || RV 76 || Sonata / V1, V2, Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 6 || RV 72 || Sonata / V1, V2, Bc || G Minor || Example<br />
|}<br />
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===Op. 6: <i>VI Concerti à cinque strumenti: 3 violini, alto viola, e basso continuo</i>===<br />
The six concertos for violin and strings of Op. 6, published in Amsterdam in 1716-1717 by Jeanne Roger (as her firm's print No. 452) represent both a continuation and a departure. The instrumental requirements are identical to those of Op. 4: they require a principal violin and a small string orchestra. This short collection could have served as a supplement to Op. 4, given the pattern set by Opp. 2 and 5 (another short set). The absence of a dedicatee and sundry details of the music suggest that Vivaldi did not actively seek this publication and that the print was therefore unauthorized. Mme. Roger heralded Vivaldi's titles as <i>maestro di violino</i> and <i>maestro di concerti</i> at the Pietà. <br />
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Musically, five of the six works are in minor keys. Again forming a parallel with Op. 5, it was not followed by myriad other editions, although Le Cène brought out one (undated) reprint.<br />
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{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 6, No. 1 || RV 324 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 2 || RV 259 || Converto / VPr; V1 V2 Va Vc Org || C Minor || Example<br />
|-<br />
| Op. 6, No. 3 || RV 318 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 4 || RV 216 || Concerto / VPr; V1 V2 Va Vc Org || D Major || Example<br />
|-<br />
| Op. 6, No. 5 || RV 280 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || Example<br />
|-<br />
| Op. 6, No. 6 || RV 239 || Concerto / VPr; V1 V2 Va Vc Org || D Minor || Example<br />
|}<br />
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===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===<br />
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Vivsaldi's 12 concertos <i>a 5</i> (meaning three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for the solo episodes of the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained three movements. One can see that Vivaldi's idea of concerto had evolved considerably over a decade. The oboe arrangements of Nos. 1 and No. 7, as well as No. 9 (reset for oboe in a later opus) are now considered spurious. <br />
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As scores passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his concertos began to take on a life of their own. No. 1 was revised by Johann Pisendel (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden Hofkapelle. <br />
No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro." No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in Walsh & Hare's anthology <i>Select Harmony</i> (1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work incudes a written cadenza. It was also transcribed by J. S. Bach for organ as BWV 594. Parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations.<br />
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{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 7, No. 1 || RV 465 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 143 || Example<br />
|-<br />
| Op. 7, No. 2 || RV 188 || Concerto / VPr; V1 V2 Va Vc Org || C Major || || Example<br />
|-<br />
| Op. 7, No. 3 || RV 326 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || RV 370 || Example<br />
|-<br />
| Op. 7, No. 4 || RV 354 || Concerto / VPr; V1 V2 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 7, No. 5 || RV 285a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 285 || Example<br />
|-<br />
| Op. 7, No. 6 || RV 374 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 7, No. 7 || RV 464 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 142 || Example<br />
|-<br />
| Op. 7, No. 8 || RV 299 || Concerto / VPr; V1 V2 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 7, No. 9 || RV 373 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 153 || Example<br />
|-<br />
| Op. 7, No. 10 || RV 294a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 294 || Example<br />
|-<br />
| Op. 7, No. 11 || RV 208a || Concerto / VPr; V1 V2 Va Vc Org || D Major || BWV 594 (organ) || Example<br />
|-<br />
| Op. 7, No. 12 || RV 214 || Concerto / VPr; V1 V2 Va Vc Org || D Major || || Example<br />
|}<br />
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===Op. 8: <i>Il cimento dell'armonia e dell'invenzione: Concerti a quattro e cinque</i>===<br />
Vivaldi's most famous opus was published in Amsterdam by Michel Charles Le Cène in 1725. It is clear, though, that various portions of sundry works had been written earlier. What was perhaps new was the formalization of the scheme, complete with the texts of the sonnets with which they were coordinated, of the first four concertos--The Four Seasons. These works, and their cyclical organization, captured the imagination of many and led to a "Four Seasons" industry of arrangements and performances that extends to the current day. <br />
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Unlike other opuses that postdated Vivaldi's move to Mantua, this one resumed the practice of dedicating the collection to a nobleman, in this case Venceslas, count of Morzin (also Morcin, spelled Marzin in the print itself). Two concertos known only in manuscript, RV 449 and 496, were also dedicated to the count. <br />
He was Bohemian with townhouses in Prague and Vienna. He was an occasional patron of Venetian opera. Prague, the capital of Bohemia, was a thriving city with rapidly developing enterprises focused on opera and on the development of string music. One can see how poetic justice prevailed in this dedication: Bohemians not only loved music but were happy to master its component parts. <br />
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This opus was more popular in France than anywhere else. Parisian reprints issued from the presses of Madame Boivin (c. 1739, 1743, 1748). Manuscripts were widely circulated. Rearrangements of portions of the opus were also proliferated. In Dresden, the orchestration of some works was enriched by Johann Pisendel, who also elaborated some of the articulation. <br />
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In the works as a set, major keys predominate. Nos. 7, 9, and 11 are known in alternative versions. The final of movement of Op. 8, No. 11 presents a particularly complex web of revisions to the alternation of tutti and solo. <br />
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====CCARH Parts for Op. 8====<br />
The following parts for Antonio Vivaldi's Op.8 concerti accompany the full score available from Dover Publications:<br />
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* Vivaldi, Antonio. "The Four Seasons" and Other Violin Concertos in Full Score; Opus 8, Complete. Ed. by Eleanor Selfridge-Field. Mineola, New York: Dover Publications; 1995. ISBN 0-486-28638-X.<br />
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{{VivaldiOp8PDFTable}}<br />
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===Op. 9: <i>La cetra. Concerti</i>===<br />
Vivaldi's Concertos Op. 9, published in Amsterdam by Michel Charles Le Cène in Vols. 533 and 534 (datable from 1727), have the distinction of having been dedicated to the emperor Charles VI. The two met two years later in Trieste, where the emperor was more enraptured by Vivaldi's music and the intelligence with which he discussed it than with the diplomatic matters at hand. Op. 9 is easily confused with a contemporary set of twelve unpublished concertos for violin also called "La Cetra," that Vivaldi presented to the Emperor during his 1729 visit, as part of a diplomatic delegation, to Trieste. <br />
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The works of Op. 9 were not so widely circulated as those of other recent volumes of Vivaldi's music, and a few were not new. (Three of the works were known in alternative versions.) The popularity of the "Four Seasons" concertos (Op. 8, Nos. 1-4) blinded the public to Vivaldi's future prints, while Vivaldi's own interest in publishing instrumental music was also in decline after the appearance of this collection. <br />
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{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 9, No. 1 || RV 181a || [VPr]; V1 V2 V3 Va Vc Org || C Major || RV 180 || Example<br />
|-<br />
| Op. 9, No. 2 || RV 375 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 3 || RV 334 || [VPr]; V1 V2 V3 Va Vc Org || G Minor || || Example<br />
|-<br />
| Op. 9, No. 4 || RV 263a || [VPr]; V1 V2 V3 Va Vc Org || E Major || RV 263 || Example<br />
|-<br />
| Op. 9, No. 5 || RV 358 || [VPr]; V1 V2 V3 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 9, No. 6 || RV 348 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 7 || RV 359 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 8 || RV 238 || [VPr]; V1 V2 V3 Va Vc Org || D Minor || || Example<br />
|-<br />
| Op. 9, No. 9 || RV 530 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 10 || RV 300 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 9, No. 11 || RV 198a || [VPr]; V1 V2 V3 Va Vc Org || C Minor || RV 198 || Example<br />
|-<br />
| Op. 9, No. 12 || RV 391 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|}<br />
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The part for <i>Violino Principale</i> is lost, although a manuscript part-book for it survives for a few works.<br />
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===Op. 10: <i>VI Concerti a flauto traverso</i>===<br />
Six Concertos for Flute and String Orchestra, Op. 10; Related Variants<br />
<br />
As published, Vivaldi's Opus 10 is a straightforward collection of concertos for flute and string orchestra. <br />
Most works which originally called for obbligato flutes seem to have originated during the early 1720s, perhaps reflecting opportunities that Vivaldi encountered in Rome, where he stayed intermittently between c. 1719 and 1724. Although the transverse flute was then little known in Italy, the availability of an excellent player was essential for the execution of several of his works for it. <br />
<br />
Opus 10 appeared in 1729, in rough coincidence with Vivaldi's violin concertos Opp. 11 and 12, but most of the works are likely to have been composed years earlier. All three volumes were published in Amsterdam. Although each published set was designed for a market oriented towards a standardized, relatively neutral instrumentation, the origins of the individual works were heterogeneous. The indications suggested by the related concertos listed on the lower half of the chart do not include subtle differences of instrumental alternatives and/or pairings--for example, an independent oboe part vs. an oboe part duplicating a second violin, a separate cello part vs. an unspecified Basso, and so forth. These are among the kinds of details that have necessitated separate listings for works that are musically similar. One manuscript source for No. 3 is scored for recorder rather than violin.<br />
<br />
The transverse flute and the recorder were both associated with a certain freedom of timbral choice. The so-called chamber concertos (RV 570, 90, and 101) for flute (or recorder), oboe, bassoon, violin, and bass can be understood to signify this sense of free play, rather than to represent a sub-genre cast in concrete. Although Vivaldi's chamber concertos had few analogues during Vivaldi's lifetime, they paved the way to a rich chamber repertory in the later eighteenth century.<br />
<br />
<center><br />
{{VivaldiOpl0PDFTable}}<br />
</center><br />
<br />
The first three works are the best known ones of the collection, but their nicknames accrued over time. Their programmatic allusions are largely confirmed in associated manuscripts. Storms at sea and phantoms of the night (the images cultivated by the first two pieces) were staples of opera staging at Venice's Teatro Sant'Angelo, the Venetian theater with which Vivaldi and his father were most consistently associated. Both played a prominent role in Venetian scene paintings contemporary with Vivaldi. <br />
<br />
The representation of sleep in the fourth movement of Op 10, No. 2, is illustrative of a fascination with dreams and the supernatural that was probed cautiously on the stage because of the pervasive scrutiny of religious censors. However, the dramatization of darkness fed Sant'Angelo's penchant for grottoes and grotesque scenes. It is darkness that the bassoon invokes in the manuscript RV 501 (the loose analogue of No. 2), where the key is Bb Major rather than G Minor.<br />
<br />
Vivaldi's depictions of bird-calls (in Op. 10, No. 3 a bullfinch) were prevalent not only in his concertos but also in his operas, and in dozens of works by other composers of the time. Though elsewhere they often suggested the formal gardens that were so much promoted by the aristocracy, in Vivaldi's case they are more often a natural depiction of bucolic habitats consistent with the imagery of Arcadian shepherds than of programmed landscapes abroad. <br />
<br />
The <i>sopranino</i> recorder concerto RV 444 is a unique work among Vivaldi's <i>oeuvre</i>, although it could easily have been adapted to a different soloist. It would have suited a virtuoso of considerable renown.<br />
<br />
The parts provided here correspond to the Dover Publication entitled <i>Six Concertos for Flute and String Orchestra, Op. 10, and Related Variants</i>.<br />
<br />
===Op. 11: <i>Sei concerti</i>===<br />
In Opp. 11 and 12 Vivaldi returned to the practice of publishing six works at a time. His earlier 12-work prints are usually presented as two books of six, but there were practical benefits to grouping the works into two sets. Opp. 11 and 12 appear to be cut from the same cloth and may have been intended as a single publication. Their Amsterdam print numbers from presses of Michel Charles Le Cène (1729) were 545 and 546. In comparison to all of Vivaldi's music printed since 1711 they were poorly circulated. Some uncertainty hovers over the question of whether Vivaldi authorized these prints. He avoided publication of sets after the publication of Op. 12, preferring instead to sell pieces singly to well-heeled fans and amateurs. <br />
<br />
Many solo passages are a challenge to the principal violinist. Vivaldi's full catalog of virutoso techniques--double, triple, and quadruple stops, bariolage and a host of other difficult manners of passagework lurk nearby. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Related works !! Score <br />
|-<br />
| Op. 11, No. 1 || RV 207 || Concerto / VPr; V1 V2 Va Vc Org || D Major || || Example<br />
|-<br />
| Op. 11, No. 2 || RV 277 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || Nicknamed "Il Favorito" || Example<br />
|-<br />
| Op. 11, No. 3 || RV 336 || Concerto / VPr; V1 V2 Va Vc Org || A Major || || Example <br />
|-<br />
| Op. 11, No. 4 || RV 308 || Concerto / VPr; V1 V2 Va Vc Org || G Major || || Example <br />
|-<br />
| Op. 11, No. 5 || RV 202 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || || Example <br />
|-<br />
| Op. 11, No. 6 || RV 260 || Concerto / VPr; V1 V2 Va Vc Org || C Minor || Op. 9, No. 3 (RV 334) || Example<br />
|}<br />
<br />
===Op. 12: <i>Sei concerti</i>===<br />
Vivaldi's six concertos Op. 12 (1729) represent the final printed publication of his music. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 12, No. 1 || RV 317 || Concerto / VPr; V1 V2 Va Vc Bc || G Minor || Example<br />
|-<br />
| Op. 12, No. 2 || RV 244 || Concerto / VPr; V1 V2 Va Vc Bc || D Minor || Example<br />
|-<br />
| Op. 12, No. 3 || RV 124 || Concerto / VPr; V1 V2 Va Vc Bc || D Major || Example<br />
|-<br />
| Op. 12, No. 4 || RV 173 || Concerto / VPr; V1 V2 Va Vc Bc || C Major || Example<br />
|-<br />
| Op. 12, No. 5 || RV 379 || Concerto / VPr; V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 12, No. 6 || RV 361 || Concerto / VPr; V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|}<br />
<br />
==Unpublished instrumental works==<br />
<br />
The number of Vivaldi's unpublished instrumental pieces greatly exceeds those that were printed in the composer's lifetime. They generally follow the same lines and populate the same genres of sonata and concerto. The two most conspicuous differences between the published and unpublished works are that dates of composition are more difficult to pin down for the manuscript works and nearly all of the works with obbligato wind parts were never published. <br />
<br />
Why were works with obbligato winds not published in Vivaldi's time? The demand for works with wind parts was much lower, while learning to play the violin was a popular activity among noblemen. Numerous accounts of special occasions note the addition of local amateur players to orchestras for serenatas and sinfonias. Learning to play a bowed instrument conferred a certain prestige on the fledgling performer. <br />
<br />
In Italy wind instruments, which were not readily available, were required in music for particular kinds of ceremonies or scenes in operas. Nasal reeds, such as the oboe, were used in funeral music or to signify impending doom. Recorders and cross-flutes were associated with peasants and with dancing. Bassoons could signify the underworld. Among brasses, trumpets had been used discreetly to represent military advances and triumphs since before Vivaldi was born, but their appearances were few. <br />
<br />
Vivaldi's interactions with musicians from north of the Alps provided him with incentives to score parts for oboes, bassoons, recorders, cross-flutes, and other novel instruments. He also adapted some of his concertos with a wind instrument instead of a principal violin. Op. 10 is the only print that shows off his wind interests here, but the menu of works related to that set of six (grouped here with Op. 10) shows the latitude (or lack thereof) in adaptations. <br />
<br />
Yet in Italy, the idea of using these different timbres together with strings was one that remained somewhat foreign at the end of Vivaldi's life. In his operas, winds were usually deployed in pairs. Quite often their use was limited to opening performances, when entrance fees were higher. Because their players were paid one night at a time, the wind parts did not always survive. Modern editions represent optimal versions of the work at hand, but the fact that many wind parts have only one or two solo episodes in an entire work and otherwise double string parts allows for some latitude in interpretation and some accommodation of strained circumstances.<br />
<br />
=Oratorios=<br />
== [http://wiki.ccarh.org/wiki/Juditha_triumphans <i>Juditha triumphans</i>] ==<br />
<br />
Click title to see separate webpage.<br />
<br />
= References =</div>Edchttps://wiki.ccarh.org/index.php?title=MuseData:_Antonio_Vivaldi&diff=11738MuseData: Antonio Vivaldi2022-09-28T22:34:12Z<p>Edc: /* Unpublished instrumental works */</p>
<hr />
<div>__TOC__<br />
<br />
<br />
==Published Sonatas and Concertos==<br />
Antonio Lucio Vivaldi (1678-1741) is best known to modern audiences for his instrumental music. Like most composers of his time, Vivaldi composed in the formal medium of the sonata in his earliest publications (from 1703). His reputation was propelled by his concertos, the earliest of which appeared in 1711. This is still the genre with which he is most widely associated. <br />
<br />
===Op. 1: <i>Suonate da camera a trè, due violini e violone o cembalo</i>===<br />
Vivaldi's twelve sonatas Op. 1 are presumed to have been published prior to his appointment as <i>maestro di violino</i> at the Ospedale della Pietà, Venice, because he is described without reference to the institution as "<i>musico di violino, professore veneto</i>" (a violinist and teacher in the Veneto). The works were dedicated to the count Annibale Gambara, one of five sons in a big family of noblemen from [https://en.wikipedia.org/wiki/Brescia Brescia] (the city in which Vivaldi's father was born), a provincial capital in the western Veneto. The Gambara also had a modest palace on the Grand Canal in the Venetian parish of San Barnabà. <br />
<br />
[[File:Op1-12_Folia_V1.png|400px|thumb|center|Excerpt from the Violino primo (first violin) part of the Folìa of Vivaldi's Sonata Op. 1, No. 12 (Venice: Giuseppe Sala, 1705). Image from the partbook in the Conservatorio Benedetto Marcello, Venice. Used by permission.]]<br />
<br />
These trio sonatas contained various numbers of movements (3 to 6), most in binary form. The four outer works (Nos. 1, 2, 11, and 12) were in minor keys, the others in major ones. The best known work is Op. 1, No. 12, an ambitious set of variations on the <i>folìa</i>. Vivaldi may have been inspired by [http://scores.ccarh.org/corelli/op5/corelli-op5n12.pdf Arcangelo Corelli]'s set of Folìa variations [http://scores.ccarh.org/corelli/op5/corelli-op5n12.pdf Op. 5, No. 12] (1700), but the trio texture changes the dynamics of the realization substantially.<br />
<br />
The earliest surviving print of Op. 1 was published in Venice (G. Sala) in 1705. Only fragments of it survive today in the library of the "Benedetto Marello" Conservatory in Venice. Vivaldi's collection was reprinted in Amsterdam in 1723 (E. Roger, as print No. 363), in Paris in 1759 (Le Clerc), and in Austria in 1759. Many movements are brief and musically simple, so much so that were one to judge from this opus alone, one would not have anticipated the kind of success that Vivaldi later found.<br />
<br />
{{VivaldiOp1PDF}}<br />
<br />
===Op. 2: <i>Sonate a violino e basso per il cembalo</i>===<br />
<br />
[[File:Carlevaris_FredIV_viaGetty-Google.png|575px|thumb|left|Detail of Luca Carlevaris's depiction of the regatta held on the Grand Canal, Venice, for Frederick IV of Denmark (1709). Reproduction of public-domain image from the Getty Museum as shown in the Google Art project.]]<br />
<br />
The trio sonata, over which Vivaldi had exhibited his command in Op. 1, had been the most prevalent instrumental genre of the 1690s, but in the first decade of the eighteenth century interest began to gravitate towards the "solo" sonata--a work in several movements for one ensemble instrument and a basso continuo. In this 1709 collection by the Venetian publisher Antonio Bortoli, Vivaldi pursued a more expressive vein of musical enticement. The opus was dedicated to the visiting young monarch Frederick IV of Denmark. As prince of Schleswig-Holstein, his extended stay drew much artistic attention. No fewer than three operas were dedicated to him. <br />
<br />
Seven of these sonatas were cast in minor keys. (An asterisk (*) indicates a transcription using the key signature of the original print, while ** indicates a modernized key signature.) The movement structure of these early prints remained variable. Vivaldi was moving in the direction of fewer movements but in coincidence we find greater musical elaboration within longer movement. The composer was still described as a <i>musico di violino</i> but also as <i>maestro dei concerti</i> (concertmaster) of the [https://en.wikipedia.org/wiki/Ospedale_della_Piet%C3%A0 Ospedale della Pietà]. <br />
<br />
{{VivaldiOp2PDF}}<br />
<br />
Like Op. 1, Op. 2 had a long afterlife in both reprints and manuscript copies, mainly abroad. These included the publications of E. Roger (Amsterdam, 1712) and several editions (1721-1730) by I. Walsh J. Young (London).<br />
<br />
===Op. 3: <i>L'estro armonico: Concerti</i>=== <br />
[[File:Ferdinando_de'_Medici_c1687_Cassana.jpg|300px|thumb|right|Portrait of Ferdinando de' Medici, grand prince of Tuscany, in <i>c</i>1687 by the Venetian painter Niccolò Cassana. Wikimedia Commons.]]<br />
<br />
The first concertos by Vivaldi to reach print were those of Opus 3 (Amsterdam, 1711). With them Vivaldi suddenly became a celebrity, for although he was well known as a virtuoso, his previously published works had found a relatively modest reception. Vivaldi's titles remained as they were in Op. 2. Most composers described the contents of a publication in sufficient detail to indicate instrumentation, but Vivaldi settled for the word "Concerti" in order to allow space for the titles of his patron, the Grand Prince of Tuscany, [http://it.wikipedia.org/wiki/Ferdinando_de%27_Medici#Teatro Ferdinando III (1663-1713)]. The Grand Prince, who led a flamboyant life, enjoyed his visits to Venice, where however he contracted syphilis in 1696. This led to his premature death and changed the course of Tuscan (and imperial) history. Meanwhile, however, his patronage of music benefited many composers of the time including [http://en.wikipedia.org/wiki/Tomaso_Albinoni Tomaso Albinoni (1671-1751)], [http://en.wikipedia.org/wiki/Handel George Frideric Handel (1685-1759)], and [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Alessandro Scarlatti (1660-1725)]. His Bavarian wife, [http://it.wikipedia.org/wiki/Violante_Beatrice_di_Baviera Violante Beatrice (1673-1731)], was in many ways a still more significant supporter of individual singers and instrumentalists. <br />
<br />
Having now completed eight years of teaching at the [[Ospedale of the Pietà]] in Venice, Vivaldi shows himself to have experimented with a variety of approaches to textures and groupings of instruments. These twelve works are arranged cyclically, such that Nos. 1, 4, 7, and 10 are scored for four violins and string orchestra; Nos. 2, 5, 8, and 11 for two violins, violoncello, and string orchestra; and Nos. 3, 6, 9, and 12 for solo violin (Violino Principale) and string orchestra. Within the <i>concertino</i> groups (four violins or, alternatively, two violins and violoncello), there is further separation. The "four violins" model often involves the pairing of the instruments such that one duo imitates another. This kind of experimentation is suggested by the word <i>estro</i>, which refers to gestational properties whereby one musical passage generates the need for the next. In musical terms, the sophistication of the idea represented an enormous step forward for Vivaldi, whose first sonatas were primitive and somewhat generic by comparison. <br />
<br />
Additionally, the music was more cogent than before, the organization manifestly rational. The imaginative scoring, careful markup, and newly pungent musical effects were novelties not found in Opp. 1 or 2. If he had leaned on the familiar models of [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Arcangelo Corelli (1753-1713)] before, Vivaldi was now producing music that was novel, ambitious, and aesthetically pleasing. Largely in coincidence with this publication, Vivaldi's concerts at the Pietà began to win plaudits from a succession of visiting dignitaries from abroad. <br />
<br />
Within the context of the early concerto, Op. 3 was equally noteworthy. The now elderly Corelli had perfected the <i>concerto grosso</i> [his [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli#The_Concerti_grossi_Op._6 Op. 6] would be published only posthumously in 1714]. Vivaldi's concertos for two and four violins had some debts to these works, but his concertos for solo violin and orchestra did not have Corellian models to follow. The trumpet concertos by [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Giuseppe Torelli (1658-1709)] are an oft mentioned alternative model, but Vivaldi's skills at articulation and exhibitionism were unrivaled. The violin was capable of much greater subtlety than the trumpet. <br />
<br />
====Dissemination of Individual Works from Op. 3====<br />
The <i>Concerti</i> Op. 3 were so popular that the entire opus was reprinted in Amsterdam within a year. Other reprints followed in both London and Paris through 1751. Because of the cyclical rotation of different combinations of instruments from work to work, individual pieces in Op. 3 led themselves to diverse uses. The basic organization is shown in the table. Parsed one way, it is a four-fold cycle of three works. The textures vary with the instrumentation.<br />
<br />
Several works from Opus 3 took on lives of their own. Six works (indicated by an asterisk*) were transcribed by J. S. Bach, and there are faint clues that Bach may have transcribed them all. Bach was highly sensitive to the cyclical instrumentation of Vivaldi's collection: Nos 1, 4, 7, and 10 were set for two pairs of solo violins; Nos. 2, 5, 8, and 11 for a trio of soloists (two violins and violoncello); Nos. 3, 6, 9, and 12 for principal violin, in all cases with string orchestra. As the table below shows, Bach chose the second type for an organ adaptation and the third type for concertos for harpsichord and strings, while the first type served as a model for his lone concerto for four harpsichords and strings. The trio sonata, which was at its peak in the years 1700-1710, was a popular reservoir for organ transcriptions in Germany, but the other adaptations had no such currency. Concertos for four harpsichords were unknown. <br />
<br />
Wide circulation of Vivaldi's concertos was further stimulated by John Walsh's edition of Op. 3 in <i>c.</i> 1715. In this print, the order of Nos. 6-9 was altered so that these concertos became Nos. 8, 9, 6, and 7. The clavichord transcriptions of Anne Dawson include many works in Vivaldi's Opp. 3 and 4 and show a further dimension of the music's adaptation. Numerous transcriptions and copies survive in Europe and North America.<br />
<br />
====CCARH Scores and Parts for Opus 3====<br />
[[File:Op3DoverCover.jpg|100px||left]]<br />
<br />
CCARH cooperated with Dover Publications Inc. in producing the scores that appear in <i>L'estro armonico: Twelve Concertos for Violins and String Orchestra, Op. 3</i>. The cover is shown below. The collection entitled <i>L'estro armonico</i> was the first title under Vivaldi's name to draw widespread attention. It is likely that some of the works had already been performed in selected gatherings. They were profusely copied, arranged, and reprinted (with numerous variants) over the next few decades. <br />
<br />
For bound paper copies, see Vivaldi, Antonio. <i>"L'Estro armonico", Op. 3 in Full Score: 12 Concertos for Violins and String Orchestra</i>, ed. Eleanor Selfridge-Field (Mineola, New York: Dover Publications; 1999). Available from Amazon [http://www.amazon.com/exec/obidos/tg/detail/-/0486406318/themefinder/002-2800507-6138416 ISBN 0-486-40631-8] and Dover [http://store.doverpublications.com/review.html?pr_page_id=0486406318 ISBN 0-486-40631-8].<br />
</ul><br />
<br />
{{VivaldiOp3PDF}}<br />
<br><br />
<br />
The transcriptions as a group are available here.<br />
<br />
===Op. 4: <i>La Stravaganza: Concerti in six parts</i>===<br />
Vivaldi's violin concertos Op. 4 (announced in London on January 1, 1715) achieved a much broader penetration of the European market than any previous publication of his music. The collection, published in Amsterdam as Estienne Roger's prints Nos. 399 and 400, bore the title <i>La Stravaganza</i> (The Extravaganza), a designation popular at the time. In musical contexts it usually referred to chromatic harmonies, but in Vivaldi's case it forewarned prospective players of the challenges posed, epsecially for the principal violinist. (Up to this time, Roger had principally offered trio sonatas and concerti grossi, which were less demanding.) <br />
<br />
Op. 4 was a compendium of virtuoso techniques that were popularized by Vivaldi, who, as a performer, was known far and wide for his daring. His near-peers in this regard were violinist-composers such as Tomaso Albinoni and Lodovico Madonis, but their most demanding works appeared some years later and were less widely distributed. Op. 4 was dedicated to a Venetian nobleman, Vettor Delfin, whose family were largely engaged in military affairs. With only one exception (Op. 4, No. 7), the concertos were written in three movements. <br />
<br />
At the time Op. 4 appeared, Vivaldi had been filling holes left by the departure of [http://it.wikipedia.org/wiki/Francesco_Gasparini Francesco Gasparini (1661-1727)] at the Pietà. He was now turning his attention to motets and oratorios <i>per force</i> to bridge the gap left by Gasparini. It is therefore likely that most of these pieces were composed before the elder <i>maestro</i>'s departure. Reprints of Op. 4 appeared in 1723, 1728, and 1730, but selected individual works enjoyed independent circulation. Vivaldi had now reached the point where demand for his instrumental music exceeded the amount of time he could afford to devote to it. It may be for this reason that echoes of Op. 4 appear in a few later works by Vivaldi. Op. 7, No. 1, for example, was a first cousin of Op. 4, No. 9; myriad other variants of this set were quoted in later works. The cumulative effect was a splintering of work-identities that still confuse musicians today. Vivaldi himself adapted many of his works to suit new purposes as appropriate occasions arose. <br />
<br />
{{VivaldiOp4PDF}}<br />
<br />
===Op. 5: <i>VI Sonate/quatro à violino solo e basso e due a due violini e basso continuo</i>===<br />
Four of the six sonatas of Op. 5, published in Amsterdam (1716) as Estienne Roger's print No. 418, may have been remainders of Vivaldi's Op. 2, an opus consisting of a dozen solo violin sonatas. In Op. 5 we find four solo sonatas and two trio sonatas. During the visit of the young Danish king Frederick Christian IV to Venice in the winter of 1709, a great many banquets and balls were planned. Easily half of them were canceled either by hosts or guests because many people (including the doge and one of the Republic's official hosts) died. No autograph material for this opus survives. Op. 2 had been dedicated to Frederick Christian, but Op. 5 was an orphan of sorts. It contained a mixed repertory, lacked a dedicatee, and found insufficient popularity to prompt reprints. Few works were copied in manuscript. An exception was the first movement of Op. 5, No. 6, which was included in J. B. Cartier's <i>L'Art du Violon</i> (Paris, 1798). <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 5, No. 1 || RV 18 || Sonata / V, Bc || F Major || Example<br />
|-<br />
| Op. 5, No. 2 || RV 30 || Sonata / V, Bc || A Major || Example<br />
|-<br />
| Op. 5, No. 3 || RV 33 || Sonata / V, Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 4 || RV 35 || Sonata / V, Bc || B Minor || Example<br />
|-<br />
| Op. 5, No. 5 || RV 76 || Sonata / V1, V2, Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 6 || RV 72 || Sonata / V1, V2, Bc || G Minor || Example<br />
|}<br />
<br />
===Op. 6: <i>VI Concerti à cinque strumenti: 3 violini, alto viola, e basso continuo</i>===<br />
The six concertos for violin and strings of Op. 6, published in Amsterdam in 1716-1717 by Jeanne Roger (as her firm's print No. 452) represent both a continuation and a departure. The instrumental requirements are identical to those of Op. 4: they require a principal violin and a small string orchestra. This short collection could have served as a supplement to Op. 4, given the pattern set by Opp. 2 and 5 (another short set). The absence of a dedicatee and sundry details of the music suggest that Vivaldi did not actively seek this publication and that the print was therefore unauthorized. Mme. Roger heralded Vivaldi's titles as <i>maestro di violino</i> and <i>maestro di concerti</i> at the Pietà. <br />
<br />
Musically, five of the six works are in minor keys. Again forming a parallel with Op. 5, it was not followed by myriad other editions, although Le Cène brought out one (undated) reprint.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 6, No. 1 || RV 324 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 2 || RV 259 || Converto / VPr; V1 V2 Va Vc Org || C Minor || Example<br />
|-<br />
| Op. 6, No. 3 || RV 318 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 4 || RV 216 || Concerto / VPr; V1 V2 Va Vc Org || D Major || Example<br />
|-<br />
| Op. 6, No. 5 || RV 280 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || Example<br />
|-<br />
| Op. 6, No. 6 || RV 239 || Concerto / VPr; V1 V2 Va Vc Org || D Minor || Example<br />
|}<br />
<br />
===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===<br />
<br />
Vivsaldi's 12 concertos <i>a 5</i> (meaning three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for the solo episodes of the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained three movements. One can see that Vivaldi's idea of concerto had evolved considerably over a decade. The oboe arrangements of Nos. 1 and No. 7, as well as No. 9 (reset for oboe in a later opus) are now considered spurious. <br />
<br />
As scores passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his concertos began to take on a life of their own. No. 1 was revised by Johann Pisendel (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden Hofkapelle. <br />
No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro." No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in Walsh & Hare's anthology <i>Select Harmony</i> (1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work incudes a written cadenza. It was also transcribed by J. S. Bach for organ as BWV 594. Parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 7, No. 1 || RV 465 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 143 || Example<br />
|-<br />
| Op. 7, No. 2 || RV 188 || Concerto / VPr; V1 V2 Va Vc Org || C Major || || Example<br />
|-<br />
| Op. 7, No. 3 || RV 326 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || RV 370 || Example<br />
|-<br />
| Op. 7, No. 4 || RV 354 || Concerto / VPr; V1 V2 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 7, No. 5 || RV 285a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 285 || Example<br />
|-<br />
| Op. 7, No. 6 || RV 374 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 7, No. 7 || RV 464 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 142 || Example<br />
|-<br />
| Op. 7, No. 8 || RV 299 || Concerto / VPr; V1 V2 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 7, No. 9 || RV 373 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 153 || Example<br />
|-<br />
| Op. 7, No. 10 || RV 294a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 294 || Example<br />
|-<br />
| Op. 7, No. 11 || RV 208a || Concerto / VPr; V1 V2 Va Vc Org || D Major || BWV 594 (organ) || Example<br />
|-<br />
| Op. 7, No. 12 || RV 214 || Concerto / VPr; V1 V2 Va Vc Org || D Major || || Example<br />
|}<br />
<br />
===Op. 8: <i>Il cimento dell'armonia e dell'invenzione: Concerti a quattro e cinque</i>===<br />
Vivaldi's most famous opus was published in Amsterdam by Michel Charles Le Cène in 1725. It is clear, though, that various portions of sundry works had been written earlier. What was perhaps new was the formalization of the scheme, complete with the texts of the sonnets with which they were coordinated, of the first four concertos--The Four Seasons. These works, and their cyclical organization, captured the imagination of many and led to a "Four Seasons" industry of arrangements and performances that extends to the current day. <br />
<br />
Unlike other opuses that postdated Vivaldi's move to Mantua, this one resumed the practice of dedicating the collection to a nobleman, in this case Venceslas, count of Morzin (also Morcin, spelled Marzin in the print itself). Two concertos known only in manuscript, RV 449 and 496, were also dedicated to the count. <br />
He was Bohemian with townhouses in Prague and Vienna. He was an occasional patron of Venetian opera. Prague, the capital of Bohemia, was a thriving city with rapidly developing enterprises focused on opera and on the development of string music. One can see how poetic justice prevailed in this dedication: Bohemians not only loved music but were happy to master its component parts. <br />
<br />
This opus was more popular in France than anywhere else. Parisian reprints issued from the presses of Madame Boivin (c. 1739, 1743, 1748). Manuscripts were widely circulated. Rearrangements of portions of the opus were also proliferated. In Dresden, the orchestration of some works was enriched by Johann Pisendel, who also elaborated some of the articulation. <br />
<br />
In the works as a set, major keys predominate. Nos. 7, 9, and 11 are known in alternative versions. The final of movement of Op. 8, No. 11 presents a particularly complex web of revisions to the alternation of tutti and solo. <br />
<br />
====CCARH Parts for Op. 8====<br />
The following parts for Antonio Vivaldi's Op.8 concerti accompany the full score available from Dover Publications:<br />
<br />
* Vivaldi, Antonio. "The Four Seasons" and Other Violin Concertos in Full Score; Opus 8, Complete. Ed. by Eleanor Selfridge-Field. Mineola, New York: Dover Publications; 1995. ISBN 0-486-28638-X.<br />
<br />
<center><br />
{{VivaldiOp8PDFTable}}<br />
</center><br />
<br><br />
<br />
===Op. 9: <i>La cetra. Concerti</i>===<br />
Vivaldi's Concertos Op. 9, published in Amsterdam by Michel Charles Le Cène in Vols. 533 and 534 (datable from 1727), have the distinction of having been dedicated to the emperor Charles VI. The two met two years later in Trieste, where the emperor was more enraptured by Vivaldi's music and the intelligence with which he discussed it than with the diplomatic matters at hand. Op. 9 is easily confused with a contemporary set of twelve unpublished concertos for violin also called "La Cetra," that Vivaldi presented to the Emperor during his 1729 visit, as part of a diplomatic delegation, to Trieste. <br />
<br />
The works of Op. 9 were not so widely circulated as those of other recent volumes of Vivaldi's music, and a few were not new. (Three of the works were known in alternative versions.) The popularity of the "Four Seasons" concertos (Op. 8, Nos. 1-4) blinded the public to Vivaldi's future prints, while Vivaldi's own interest in publishing instrumental music was also in decline after the appearance of this collection. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 9, No. 1 || RV 181a || [VPr]; V1 V2 V3 Va Vc Org || C Major || RV 180 || Example<br />
|-<br />
| Op. 9, No. 2 || RV 375 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 3 || RV 334 || [VPr]; V1 V2 V3 Va Vc Org || G Minor || || Example<br />
|-<br />
| Op. 9, No. 4 || RV 263a || [VPr]; V1 V2 V3 Va Vc Org || E Major || RV 263 || Example<br />
|-<br />
| Op. 9, No. 5 || RV 358 || [VPr]; V1 V2 V3 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 9, No. 6 || RV 348 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 7 || RV 359 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 8 || RV 238 || [VPr]; V1 V2 V3 Va Vc Org || D Minor || || Example<br />
|-<br />
| Op. 9, No. 9 || RV 530 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 10 || RV 300 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 9, No. 11 || RV 198a || [VPr]; V1 V2 V3 Va Vc Org || C Minor || RV 198 || Example<br />
|-<br />
| Op. 9, No. 12 || RV 391 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|}<br />
<br />
The part for <i>Violino Principale</i> is lost, although a manuscript part-book for it survives for a few works.<br />
<br />
===Op. 10: <i>VI Concerti a flauto traverso</i>===<br />
Six Concertos for Flute and String Orchestra, Op. 10; Related Variants<br />
<br />
As published, Vivaldi's Opus 10 is a straightforward collection of concertos for flute and string orchestra. <br />
Most works which originally called for obbligato flutes seem to have originated during the early 1720s, perhaps reflecting opportunities that Vivaldi encountered in Rome, where he stayed intermittently between c. 1719 and 1724. Although the transverse flute was then little known in Italy, the availability of an excellent player was essential for the execution of several of his works for it. <br />
<br />
Opus 10 appeared in 1729, in rough coincidence with Vivaldi's violin concertos Opp. 11 and 12, but most of the works are likely to have been composed years earlier. All three volumes were published in Amsterdam. Although each published set was designed for a market oriented towards a standardized, relatively neutral instrumentation, the origins of the individual works were heterogeneous. The indications suggested by the related concertos listed on the lower half of the chart do not include subtle differences of instrumental alternatives and/or pairings--for example, an independent oboe part vs. an oboe part duplicating a second violin, a separate cello part vs. an unspecified Basso, and so forth. These are among the kinds of details that have necessitated separate listings for works that are musically similar. One manuscript source for No. 3 is scored for recorder rather than violin.<br />
<br />
The transverse flute and the recorder were both associated with a certain freedom of timbral choice. The so-called chamber concertos (RV 570, 90, and 101) for flute (or recorder), oboe, bassoon, violin, and bass can be understood to signify this sense of free play, rather than to represent a sub-genre cast in concrete. Although Vivaldi's chamber concertos had few analogues during Vivaldi's lifetime, they paved the way to a rich chamber repertory in the later eighteenth century.<br />
<br />
<center><br />
{{VivaldiOpl0PDFTable}}<br />
</center><br />
<br />
The first three works are the best known ones of the collection, but their nicknames accrued over time. Their programmatic allusions are largely confirmed in associated manuscripts. Storms at sea and phantoms of the night (the images cultivated by the first two pieces) were staples of opera staging at Venice's Teatro Sant'Angelo, the Venetian theater with which Vivaldi and his father were most consistently associated. Both played a prominent role in Venetian scene paintings contemporary with Vivaldi. <br />
<br />
The representation of sleep in the fourth movement of Op 10, No. 2, is illustrative of a fascination with dreams and the supernatural that was probed cautiously on the stage because of the pervasive scrutiny of religious censors. However, the dramatization of darkness fed Sant'Angelo's penchant for grottoes and grotesque scenes. It is darkness that the bassoon invokes in the manuscript RV 501 (the loose analogue of No. 2), where the key is Bb Major rather than G Minor.<br />
<br />
Vivaldi's depictions of bird-calls (in Op. 10, No. 3 a bullfinch) were prevalent not only in his concertos but also in his operas, and in dozens of works by other composers of the time. Though elsewhere they often suggested the formal gardens that were so much promoted by the aristocracy, in Vivaldi's case they are more often a natural depiction of bucolic habitats consistent with the imagery of Arcadian shepherds than of programmed landscapes abroad. <br />
<br />
The <i>sopranino</i> recorder concerto RV 444 is a unique work among Vivaldi's <i>oeuvre</i>, although it could easily have been adapted to a different soloist. It would have suited a virtuoso of considerable renown.<br />
<br />
The parts provided here correspond to the Dover Publication entitled <i>Six Concertos for Flute and String Orchestra, Op. 10, and Related Variants</i>.<br />
<br />
===Op. 11: <i>Sei concerti</i>===<br />
In Opp. 11 and 12 Vivaldi returned to the practice of publishing six works at a time. His earlier 12-work prints are usually presented as two books of six, but there were practical benefits to grouping the works into two sets. Opp. 11 and 12 appear to be cut from the same cloth and may have been intended as a single publication. Their Amsterdam print numbers from presses of Michel Charles Le Cène (1729) were 545 and 546. In comparison to all of Vivaldi's music printed since 1711 they were poorly circulated. Some uncertainty hovers over the question of whether Vivaldi authorized these prints. He avoided publication of sets after the publication of Op. 12, preferring instead to sell pieces singly to well-heeled fans and amateurs. <br />
<br />
Many solo passages are a challenge to the principal violinist. Vivaldi's full catalog of virutoso techniques--double, triple, and quadruple stops, bariolage and a host of other difficult manners of passagework lurk nearby. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Related works !! Score <br />
|-<br />
| Op. 11, No. 1 || RV 207 || Concerto / VPr; V1 V2 Va Vc Org || D Major || || Example<br />
|-<br />
| Op. 11, No. 2 || RV 277 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || Nicknamed "Il Favorito" || Example<br />
|-<br />
| Op. 11, No. 3 || RV 336 || Concerto / VPr; V1 V2 Va Vc Org || A Major || || Example <br />
|-<br />
| Op. 11, No. 4 || RV 308 || Concerto / VPr; V1 V2 Va Vc Org || G Major || || Example <br />
|-<br />
| Op. 11, No. 5 || RV 202 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || || Example <br />
|-<br />
| Op. 11, No. 6 || RV 260 || Concerto / VPr; V1 V2 Va Vc Org || C Minor || Op. 9, No. 3 (RV 334) || Example<br />
|}<br />
<br />
===Op. 12: <i>Sei concerti</i>===<br />
Vivaldi's six concertos Op. 12 (1729) represent the final printed publication of his music. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 12, No. 1 || RV 317 || Concerto / VPr V1 V2 Va Vc Bc || G Minor || Example<br />
|-<br />
| Op. 12, No. 2 || RV 244 || Concerto / VPr V1 V2 Va Vc Bc || D Minor || Example<br />
|-<br />
| Op. 12, No. 3 || RV 124 || Concerto / VPr V1 V2 Va Vc Bc || D Major || Example<br />
|-<br />
| Op. 12, No. 4 || RV 173 || Concerto / VPr V1 V2 Va Vc Bc || C Major || Example<br />
|-<br />
| Op. 12, No. 5 || RV 379 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 12, No. 6 || RV 361 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|}<br />
<br />
==Unpublished instrumental works==<br />
<br />
The number of Vivaldi's unpublished instrumental pieces greatly exceeds those that were printed in the composer's lifetime. They generally follow the same lines and populate the same genres of sonata and concerto. The two most conspicuous differences between the published and unpublished works are that dates of composition are more difficult to pin down for the manuscript works and nearly all of the works with obbligato wind parts were never published. <br />
<br />
Why were works with obbligato winds not published in Vivaldi's time? The demand for works with wind parts was much lower, while learning to play the violin was a popular activity among noblemen. Numerous accounts of special occasions note the addition of local amateur players to orchestras for serenatas and sinfonias. Learning to play a bowed instrument conferred a certain prestige on the fledgling performer. <br />
<br />
In Italy wind instruments, which were not readily available, were required in music for particular kinds of ceremonies or scenes in operas. Nasal reeds, such as the oboe, were used in funeral music or to signify impending doom. Recorders and cross-flutes were associated with peasants and with dancing. Bassoons could signify the underworld. Among brasses, trumpets had been used discreetly to represent military advances and triumphs since before Vivaldi was born, but their appearances were few. <br />
<br />
Vivaldi's interactions with musicians from north of the Alps provided him with incentives to score parts for oboes, bassoons, recorders, cross-flutes, and other novel instruments. He also adapted some of his concertos with a wind instrument instead of a principal violin. Op. 10 is the only print that shows off his wind interests here, but the menu of works related to that set of six (grouped here with Op. 10) shows the latitude (or lack thereof) in adaptations. <br />
<br />
Yet in Italy, the idea of using these different timbres together with strings was one that remained somewhat foreign at the end of Vivaldi's life. In his operas, winds were usually deployed in pairs. Quite often their use was limited to opening performances, when entrance fees were higher. Because their players were paid one night at a time, the wind parts did not always survive. Modern editions represent optimal versions of the work at hand, but the fact that many wind parts have only one or two solo episodes in an entire work and otherwise double string parts allows for some latitude in interpretation and some accommodation of strained circumstances.<br />
<br />
=Oratorios=<br />
== [http://wiki.ccarh.org/wiki/Juditha_triumphans <i>Juditha triumphans</i>] ==<br />
<br />
Click title to see separate webpage.<br />
<br />
= References =</div>Edchttps://wiki.ccarh.org/index.php?title=MuseData:_George_Frideric_Handel&diff=11737MuseData: George Frideric Handel2022-09-28T18:53:42Z<p>Edc: </p>
<hr />
<div><br />
<br />
==Life==<br />
<br />
==Operas==<br />
===The Royal Academy (1719-28)===<br />
<br />
====<i>Radamisto</i> (HWV 12b)====<br />
<br />
<i>Radamisto</i> was the first work Handel composed for the Royal Academy. The version we present here is from December 1720 and followed the premier by eight months. (Two further versions followed.) Nicola Francesco Haym's libretto was loosely derived from one by Matteo Noris, set by Gio. Antonio Boretti for the Teatro San Cassiano, Venice, in 1666. The haughty contralto castrato Francesco Bernardi (<i>detto</i> Senesino) made his first London appearance in the title role. His collaboration with Handel was to be a long one. Terence Best devised the edition presented here. It was typeset by Frances Bennion, Edmund Correia, and Steven Rasmussen at the Center for Computer Assisted Research in the Humanities in 1993. <br />
<br />
{| class="wikitable"<br />
|-<br />
! Title !! Handel Catalog !! Musical content !! Notes !!<br />
|-<br />
| <i>Radamisto</i>, v. 2 || HWV 12b || Three-act opera || Ed. Terence Best for CCARH (1993) || <br />
|-<br />
| <i>Radamisto</i>, v. 2 || HWV 12b || [https://esf.ccarh.org/MuseData-Ed-202003/baroque/handel/best/rada/edition/score/ Full score] || ||<br />
|-<br />
| <i>Radamisto</i>, v. 2 || HWV 12b || [https://esf.ccarh.org/MuseData-Ed-202003/baroque/handel/best/rada/edition/parts/ Performing parts] || V1, V2, Va, Vc, Basso, Cem; Tr1, Tr2, Hrn1, Hrn 2; Ob 1, Ob2, Tr Fl, Bn ||<br />
|}<br />
<br />
====<i>Ottone, re di Germania</i> (HWV 15)====<br />
<br />
Although not performed until January 1723, Handel's opera <i>Ottone, re di Germania</i> was composed in 1719 for the fourth season of the Royal Academy. Its eventual debut took place at the King's Theater in the Haymarket. <i>Ottone</i> had several debts to recent operas in Venice and Dresden. Most immediately the story of this ambitious medieval ruler of Germany, as set by the Venetian composer Antonio Lotti on a text by Stefano Benedetto Pallavicino (Saxon court poet born in Venice), had served in Dresden as a festive wedding opera (<i>Teofane</i>) for the Saxon elector August the Strong (1719). The text was adapted for an English audience by [https://en.wikipedia.org/wiki/Nicola_Francesco_Haym Nicola Francesco Haym]. the typesetting for this CCARH edition was done by Edmund Correia. <br />
<br />
{| class="wikitable"<br />
|-<br />
! Title !! Catalog No. !! Content !! Notes<br />
|-<br />
| <i>Ottone, re di Germania</i> || HWV 96 || Full score || Ed. [https://en.wikipedia.org/wiki/Anthony_Hicks Anthony Hicks] from original sources<br />
|-<br />
| <i>Ottone, re di Germania</i> || HWV 96 || Short score || Prepared for [https://en.wikipedia.org/wiki/Philharmonia_Baroque_Orchestra Philharmonia Baroque] (1991)<br />
|-<br />
| <i>Ottone, re di Germania</i> || HWV 96 || Performing parts || V1, V2, Va, Ob1, Ob2, Bn, Basso continuo<br />
|-<br />
|}<br />
<br />
===The Royal Academy (1729-34)===<br />
===Covent Garden Theatre (1734-37)===<br />
The royal opera house at Covent Garden opened on December 7, 1732. Spoken plays constituted most of the repertory that the theater initially offered to the public. The theater was built by John Rich, manager of the Duke's Company at Lincoln's Inn Fields. There Rich's singular success rested on his support for John Gay's highly successful <i>Beggar's Opera</i> (1728), a low-life work with simple songs and other incidental music that satirized Italian opera and those who admired it. Its popularity heightened existing tensions with serious opera. <br />
<br />
The new theater lay within a district of produce and flower vendors sanctioned a century earlier by royal charter. This conferred on it the designation "royal" and the right (shared only with Drury Lane) to present spoken plays to the public. The idea of interleaving opera performances a few nights week created an opening for Handel. While <i>Ariodante</i> was taking shape, Handel composed ballet music for a revival of <i>Il pastor fido</i> and assembled the pastiche <i>Oreste</i>, both of which were performed at the theater late in 1734. <br />
<br />
====<i>Ariodante</i> (HWV 33)====<br />
Handel's <i>Ariodante</i> was composed between August and October 1734. The <i>London Daily Post</i> reported on January 1 (when the work was in rehearsal) that "the Scenes prepar'd for [it] are thought to excell any Thing of the Kind that has yet appear'd." [http://ichriss.ccarh.org/HRD/1735.htm] Opening on 8 January 1735, it was the first new opera entirely by Handel to be performed at the Royal Theatre at Covent Garden. The <i>castrato</i> [https://en.wikipedia.org/wiki/Giovanni_Carestini Giovanni Carestini] sang in the title role, making a turning point for Handel, who had until then had fashioned title roles for Francesco Bernardi ("Il Senesino"). <br />
<br />
Antonio Salvi's text (then called <i>Ginevra in Scozia</i>) was originally composed in 1708 for a production (with music by Giacomo Perti) at Pratolino (Florence). It became better known through Carlo Francesco Pollarolo's setting (as <i>Ariodante</i>) for San Giovanni Grisostomo, Venice, in November 1716. It was this opera production that launched the stellar career of Faustina Bordoni, whose voice was by now celebrated throughout Europe. The typesetting for the CCARH edition of <i>Ariodante</i> was done by Frances Bennion and Edmund Correia, Jr.<br />
<br />
{| class="wikitable"<br />
|-<br />
! Title !! Catalog No. !! Contents !! Notes<br />
|-<br />
| <i>Ariodante</i> || HWV 33 || Opera in three acts || Edited by Mark Stahura (1995)<br />
|-<br />
| <i>Ariodante</i> || HWV 33 || [http://scores.ccarh.org/handel/ariodante/ariodante-score.pdf Full score] || <br />
|-<br />
| <i>Ariodante</i> || HWV 33 || Short score || <br />
|-<br />
| <i>Ariodante</i> || HWV 33 || Performing parts || Fl1, Fl2, Ob1, Ob2; Hrn1, Hrn2, Tr1, Tr2; V1, V2, V3, Va, Bassi, Basso continuo <br />
|}<br />
<br />
[[Ariodante | <i>Ariodante</i> score and parts]].<br />
<br />
====<i>Alcina</i> (HWV 34)====<br />
<i>Alcina</i> opened at [http://en.wikipedia.org/wiki/Covent_Garden Covent Garden] on 16 April 1735. The score, which had been started early in February, was completed only eight days earlier. Anna Maria Strada del Pò took the title role. It was a popular work, enjoying eighteen performances in 1735 and three more in 1737.<br />
<br />
[[File:Bird_of_May.png|350px|thumb|right|Beginning of the "Bird of May" (arrangement of the Musette movement) for violin and basso continuo from Handel's <i>Alcina</i>. Glasgow University Library.]]<br />
<br />
Rich in the use of "woodland" instruments (flutes, piccolo, and oboes), a few excerpts took on a life of their own in such editions as John Walsh's <i>Alcina for a flute, containing the overture, songs, and symphonys curiously transpos'd and fitted for the flute</i>. John Bland's <i>Bird of May: To a favourite aire in </i>Alcina <i> by Mr. Handel</i> prompted John Simpson to issue <i>Bird of May: To a nightingale....The adieu to the Spring Garden at Vaux Hall</i>, and many further issues, all in 1735 and 1736. The basis for this "favourite aire" was nothing other than the Musette movement of the opera's overture. The rest of the eighteenth century, in which images of natural innocence were highly valued, was filled with musical depictions of nightingales. <br />
<br />
The sorceress Alcina had a long history on the opera stage. Antonio Fanzaglia's libretto had been written for Riccardo Broschi's opera <i>L'isola di Alcina</i>, which had been performed in Rome in 1728. It was based on Cantos 6 and 7 of [http://en.wikipedia.org/wiki/Ludovico_Ariosto Ludovico Ariosto]'s [http://en.wikipedia.org/wiki/Orlando_Furioso <i>Orlando furioso</i>]. The role of the knight Ruggiero is retained, but others have been modified. Handel, who had become acquainted with the text during his visit to Italy in 1729, revised the music in 1736 and again in 1737, leading to a production in Brunswick in 1738. <br />
<br />
Stage witches were intended to be alluring enchantresses. This set them radically apart from countless alleged witches, who had been burned at the stake in considerable numbers under the edict of [http://en.wikipedia.org/wiki/James_I_of_England James I]. The subject was highly topical when <i>Alcina</i> was performed, because King [http://en.wikipedia.org/wiki/George_II_of_England George II] would very soon modify James's [http://en.wikisource.org/wiki/Witchcraft_Act_1735 Witchcraft Act] (1604) by reducing the sentence to fines and imprisonment, with effect from June 24, 1736.<br />
<br />
The 1868 edition of <i>Alcina</i> by the Händel Gesellschaft (the German Handel Society) is available for viewing and download [http://daten.digitale-sammlungen.de/~db/0001/bsb00016931/images/index.html (1868 edition of Handel's <i>Alcina</i> at the Vifamusik website)]<br />
<br />
====<i>Atalanta</i> (HWV 35)====<br />
<br />
Handel's <i>Atalanta</i> opened at Covent Garden on 12 May 1736. It followed on the heels of a revival the week before of <i>Ariodante</i> in which the Italian castrato Gioacchino Conti (detto Ghiziello) was now featured in the title role. Conti's appearance generated such praise that he was soon ranked as superior to Carlo Broschi (detto Farinelli). Conti's voice was celebrated for its agility and the singer's control over pitch.<br />
<br />
The original text of <i>Atalanta</i>, by Belisario Valeriani, was entitled <i>La caccia in Etolia</i>, which was originally set by Fortunato Chelleri (Ferrara, 1715). It formed the basis of revivals and new settings given in Modena (1716), Ravenna (1726), Florence (1727), and Vienna (1733). The music comes from Handel's autograph in the British Library, with some modifications from pertinent materials in the Manchester Public Library.<br />
<br />
{| class="wikitable"<br />
|-<br />
! Title !! Catalog No. !! Content !! Notes<br />
|-<br />
| <i>Atalanta</i> || HWV 35 || Three-act pastoral || Edited by Edmund Correia, Jr. (2005)<br />
|-<br />
| <i>Atalanta</i> || HWV 35 || [https://esf.ccarh.org/MuseData-Ed-202003/baroque/handel/chry/opera/atalan/outputs/score18/pages/ Full score] || <br />
|-<br />
| <i>Atalanta</i> || HWV 35 || [https://esf.ccarh.org/MuseData-Ed-202003/baroque/handel/chry/opera/atalan/outputs/vocal/ Vocal score] || <br />
|-<br />
| <i>Atalanta</i> || HWV 35 || [https://esf.ccarh.org/MuseData-Ed-202003/baroque/handel/chry/opera/atalan/outputs/parts/ Parts] || V1, V2, Va; Tr1, Tr2, Tr3, Tmp; Ob1, Ob2, Hrn1, Hrn2; Basso continuo<br />
|}<br />
<br />
====<i>Arminio</i> (HWV 36)====<br />
Composed in September 1736, <i>Arminio</i> was first performed at Covent Garden on 12 January 1737. Antonio Salvi's text on Arminius (Hermann), the Germanic chief who defeated Roman legions in the first years of the first century, had been written for an earlier setting (Pratolino, 1703) by Alessandro Scarlatti. The subject itself had been treated in Venetian operas of the later seventeenth century. <br />
<br />
<i>Arminio</i> was not by any measure one of Handel's more successful operas. After its initial six performances, it had no revivals, nor did it generate any significant number of circulated offshoots. Some cast members were little known to London audiences. In particular, the <i>castrato</i> Domenico Annibali, who sang in the title role, was well known at the Dresden court, his principal place of employment, for his appearances in the operas of Johann Adolf Hasse, but had no particular impact in London. <br />
<br />
The German Handel Society edition is available for download from Vifamusik: [http://daten.digitale-sammlungen.de/~db/0001/bsb00016934/images/index.html Arminio (1882 edn.)].<br />
<br />
====<i>Giustino</i> (HWV 37)====<br />
Composed during a three-week period starting on August 14, 1736, <i>Giustino</i> had its premier at Covent Garden on February 17, 1737. It was more successful than <i>Arminio</i> in that ten performances were given over a four-month period. The text had been inspired by that of Niccolò Beregan (Venice 1683), for Giovanni Legrenzi's like-named work, and its adaptation by Pietro Pariati (Bologna 1711; Rome 1724). <br />
<br />
A flute arrangement of the "overture, songs and symphonys" was published soon after its premier by John Walsh (London, 1737) under the title <i>Justin</i>. Specific items within the work were recycled by Handel in subsequent operas and oratorios. The Händel Gesellschaft edition can be downloaded from Vifamusik: [http://daten.digitale-sammlungen.de/~db/0001/bsb00016933/images/index.html Giustino].<br />
<br />
====<i>Berenice</i> (HWV 38)====<br />
<i>Berenice</i>, the final opera in Handel's Covent Garden series, opened on May 18 1737. Handel had composed it from mid-December to late January. Anna Maria Strada del Pò was featured in the title role.<br />
<br />
Its libretto, by Antonio Salvi, had been written in 1709 for performance at the Villa of Pratolino (Florence). As a subject for dramatization, Berenice had much older roots in Renaissance <i>commedia</i>. Interest in it had been rekindled in the late seventeenth century by Racine's stage tragedy. It was conveyed to the musical stage by a spectacular setting for the Contarini Villa at Piazzola (near Treviso). The work was recast for Venice (1711) as <i>Le gare di politica e di Amore</i> by Gio. Maria Ruggieri. <br />
<br />
The Händel Gesellschaft edition is available for download from Vifamusik: [http://daten.digitale-sammlungen.de/~db/0001/bsb00016935/images/index.html <i>Berenice</i>].<br />
<br />
===King's Theatre, Haymarket (1738-39)===<br />
<br />
====<i>Faramondo</i> (HWV 39)====<br />
<br />
Handel's first opera for the King's Theater opened on January 3, 1738. <i>Faramondo</i>, based on a libretto by [https://en.wikipedia.org/wiki/Apostolo_Zeno Apostolo Zeno], was composed between November 15 and December 24, 1737.<br />
<br />
====<i>Serse</i> (HWV 40)====<br />
<br />
The music for <i>Serse</i>, based on librettos by [https://en.wikipedia.org/wiki/Nicol%C3%B2_Minato Niccolo Minato] and [https://en.wikipedia.org/wiki/Silvio_Stampiglia Silvio Stampiglia], was composed on the heels of <i>Faramondo</i>, between December 26 (1737) and February 14 (1738). Its first performance took place on April 15.<br />
<br />
===Theatre Royal, Lincoln's Inn Fields (1740-1741)===<br />
<br />
====<i>Imeneo</i> (HWV 41)====<br />
<br />
Handel composed the music for <i>Imeneo</i> in September 1738 and revised it in October 1740. The first performance took place on St. Cecilia's Day (November 22) of that year in the Theatre Royal at Lincoln's Inn Fields. The text was derived from one by Silvio Stampiglia. <br />
<br />
====<i>Deidamia</i> (HWV 42)====<br />
<br />
Just after completing <i>Imeneo</i> Handel began work on <i>Deidamia</i>. For it he turned to a libretto by [https://en.wikipedia.org/wiki/Paolo_Antonio_Rolli Paolo Antonio Rolli]. His score was completed by November 20. The work had its first performance on January 10, 1741, at the Theatre Royal.<br />
<br />
==Incidental Music==<br />
<br />
===<i>The Alchemist</i> (HWV 43)===<br />
<br />
Handel's incidental music for [https://en.wikipedia.org/wiki/Ben_Jonson Ben Jonson]'s play was scored for a minimal ensemble of string quartet, two oboes, and basso continuo. Elements of it were composed as early as 1710. It was performed on December 20, 1733.<br />
<br />
===<i>There is a blissful shade of bow'rs</i> (HWV 44)===<br />
<br />
In June 1745 Handel traveled to Exton, the estate of the [https://en.wikipedia.org/wiki/Ben_Jonson Earl of Gainsborogh], where [https://en.wikipedia.org/wiki/John_Milton John Milton]'s <i>Comus</i> was to be performed. He obliged his host by composing this serenata, which consists only of three airs and a later famous chorus, "Happy, happy, happy plains," which is repeated after each air.<br />
<br />
===<i>Alceste</i> (HWV 45)===<br />
<br />
[https://en.wikipedia.org/wiki/Tobias_Smollett Tobias Smollett]'s play (also known as <i>Alcides</i>) features the muse Calliope, the god Apollo, and Charon, boatman of Hades. Handel composed incidental music for it between December 27, 1749, and January 8, 1750. No performance is documented. It is a substantial work with an overture, a "grand entree," several choruses, and arias for the principal singers. Some numbers soon appeared in <i>Alexander Balus</i>.<br />
<br />
==Early Oratorios (1707-1718)==<br />
<br />
Handel's early oratorios are largely lost. The first two were composed in Rome. The third may not have been performed at all. The first and fourth same to life after extensive revisions in the 1730s.<br />
<br />
===<i>Il trionfo del Tempo e del Disinganno</i> (BWV 46a, 46b)===<br />
<br />
The first version of this oratorio was composed in Rome in the spring of 1707. A second version (46b) was assembled, with extensive new music and the addition of bassoon and horns, in the spring of 1737 in London. It was performed at the Theatre Royal, Covent Garden, on March 23, 1737. <br />
<br />
===<i>La Resurrezzione di Nostro Signor Gesù Cristo</i> (BWV 47)===<br />
<br />
<i>La resurrezione</i> was performed at the Palazzo Bonelli, Rome, on Easter (April 8) 1708. Music not extant. The libretto was by Carlo Sigismondo Capece.<br />
<br />
===<i>Der für die Sünde der Welt</i> (Brockes Passion, BWV 48)===<br />
<br />
The Brockes Passion was composed in London in 1716/17 but was performed in Hamburg Cathedral on April 3, 1719.<br />
<br />
==Masques==<br />
<br />
Handel's move to England led him to set English poetry and librettos as circumstances demand. Despite complaints about his poor spoken English, he was a willing learner and an apt pupil. <br />
<br />
===<i>Acis and Galatea</i> (HWV 49a, 49b)===<br />
<br />
The two versions of <i>Acis and Galatea</i>, a masque in two acts, were based on [https://en.wikipedia.org/wiki/John_Gay John Gay]'s work, which was derived from texts by [https://en.wikipedia.org/wiki/Alexander_Pope Alexander Pope] (1688-1744) and [https://en.wikipedia.org/wiki/John_Hughes_(poet) John Hughes] (1677-1720). They were separated by 14 years. The earlier version features four soloists, a chorus, and a wind-and-string orchestra. It evokes bucolic scenes (as in Galatea's "Ye verdant plains and woody mountains") and abounds in good cheer, into which Polyphemus intrudes. This version was performed at [https://en.wikipedia.org/wiki/John_Hughes_(poet) Cannons], the home of the Duke of Chandos, in the summer of 1718. <br />
<br />
The later version (HWV49b) was performed at the King's Theatre, Haymarket, on June 10, 1732. Two vocal roles were added, and the orchestra was more varied. It was now in three parts with substantially revised and expanded music. Handel's autograph manuscript is [http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=R.M.20.a.2 here].<br />
<br />
===<i>Esther</i> (HWV 50a)===<br />
<br />
The masque version of <i>Esther</i> (HWV 50a) was composed in 1718. It was dedicated to the Earl of Carnarvon, later the Duke of Chandos, and was performed for the first time at his estate, Cannons, around August 23, 1720. <br />
<br />
It had strong synergies with London social and literary circles of the time. Derived from the Old-Testament book of the same name, its text was composed of passages from Alexander Pope [http://en.wikipedia.org/wiki/Alexander_Pope], John Gay [http://en.wikipedia.org/wiki/John_Gay], and the satirist John Arbuthnot [http://en.wikipedia.org/wiki/John_Arbuthnot]. Arbuthnot was a friend of Handel's in the 1710s and played an important role in establishing the Royal Academy of Music in 1719. <br />
<br />
The masque (HWV 50a), which was also known under the title <i>Haman and Mordecai</i>, consisted of only six scenes. The text was derived from [https://en.wikipedia.org/wiki/Jean_Racine Jean Racine]'s drama of 1689 by [https://en.wikipedia.org/wiki/Alexander_Pope Alexander Pope] and [https://en.wikipedia.org/wiki/John_Arbuthnot John Arbuthnot] (1667-1735).<br />
<br />
==Later Oratorios (1733-1751)==<br />
The revisions to <i>Esther</i> that Handel made in 1732 seemed to revive his interest in the genre. Most of the oratorios he wrote over the next eighteen years enjoyed significant popularity. Their choruses became a stimulus to the formation of choral societies. The choral societies in turn made their own modifications to the works, thus feeding the mill of revised versions. Meanwhile, London publishers undertook to publish both arias from Handel's operas and various pieces from the oratorios. Many oratorios were published in their entirety in the latter half of the century, even though the publication of an entire opera was all but unknown. <br />
<br />
===<i>Esther</i> (BWV 50b)===<br />
<br />
<i>Esther</i> had perhaps the longest run of any of Handel's oratorios. When Handel revised his earlier masque (HWV 50a) to flesh out <i>Esther</i> (HWV 50b) in 1732, he added substantial material. (Handel's autograph manuscript for <i>Esther</i> is [http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=R.M.20.e.7 here].) This second version (HWV 50b) is a fully fledged oratorio of three acts requiring a large cast and orchestra. Its first performance was given at the King's Theater, Haymarket, on May 2, 1732.<br />
<br />
It was performed, with minor revisions, over and over for the next 25 years. Its success served as a stimulus to many of Handel's later oratorios. Printed versions were offered by William Randall (1776) and H. Wright (c. 1783). Two others close to Handel's works--the editors [https://en.wikipedia.org/wiki/John_Walsh_(printer) John Walsh] and [https://en.wikipedia.org/wiki/Samuel_Arnold_(composer) Samuel Arnold]--were subscribers.<br />
<br />
===<i>Deborah</i> (HWV 51)===<br />
<br />
Handel included pieces from several earlier works in <i>Deborah</i>, a three-act oratorio based on the text of Samuel Humphreys. He completed the score in February 1733. It was performed at the King's Theater, Haymarket, on March 17 of that year. <i>Deborah</i> had repeated performances through 1756. Together with <i>Esther</i> and <i>Athalia</i>, it was one of his most famous oratorios. A partial autograph is [http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=R.M.20.h.2 here].<br />
<br />
===<i>Athalia</i> (HWV 52)===<br />
<br />
The text for the oratorio <i>Athalia</i> was written by Samuel Humphreys, who derived it from [https://en.wikipedia.org/wiki/Jean_Racine Jean-Baptiste Racine] (1691). This oratorio had its premiere in the Sheldonian Theatre, Oxford, on July 10, 1733. It had numerous other performances through 1756. The autograph manuscript is [http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=R.M.20.h.1 here].<br />
<br />
===<i>Saul</i> (HWV 53)===<br />
Composed summer 1738, <i>Saul</i> was first performed in the Haymarket Theatre on January 16, 1739. The libretto, based on the First and Second Books of Samuel, was by Charles Jennens. Like many of Handel's mature oratorios, it had a long afterlife (London performances 1739-1754), followed by a continued presence in print. <i>Saul</i> may represent the pinnacle of Handel's efforts to constantly rethink his material. Some folios are a blizzard of changes, with the underlying music rendered difficult to decipher. The full autograph manuscript is [http://www.bl.uk/manuscripts/Viewer.aspx?ref=r.m.20.g.3_fs001r here].<br />
<br />
A London edition (by William Randall) of 1773 may be seen at the Haendel-Haus in Halle, Germany (Handel's birthplace). Consult the "Digitalisate: Musikalien- und Büchersammlung" [Digitized music and books] section of the "Bibliothek" [Library] at this link: [http://www.haendelhaus.de/de/bibliothek/Musikalien_Buecher/].<br />
<br />
===<i>Israel in Egypt</i> (HWV 54)===<br />
<br />
<i>Israel in Egypt</i> portrays the lamentations of the Israelites for the death of Joseph and narrates their exodus. The manuscript was completed on November 1, 1738. The first performance was given at the King's Theatre on April 4, 1739. <br />
Many of its choruses are well-known and foreshadow those of <i>Messiah</i>. The oratorio was performed through 1758.<br />
<br />
===<i>L'Allegro, il Penseroso, ed il Moderato</i> (HWV 55)===<br />
<br />
Most of us would not think of this adaptation of John Milton's <i>L'Allegro ed il Penseroso</i> (1632) as having the makings of an oratorio, but with the addition of Charles Jennens' <i>Il Moderato</i> to give it a three-part structure, that is what it became. Its rich orchestration adds trumpet, timpani, and carillon to Handel's more usual wind-and-string core. It had its premiere at the Theatre Royal on February 27, 1740. The role of Moderation is modest, but its inclusion is necessary for the final chorus, "Thy pleasures, Moderation, give, in them alone we truly live." The work quickly found an audience in Dublin and enjoyed considerable popularity through 1755.<br />
<br />
===<i>[[Messiah]]</i> (HWV 56)===<br />
<br />
====Handel in Dublin====<br />
Handel had been invited by the Duke of Devonshire, who was then Viceroy of Ireland, to go to Dublin in the autumn of 1741. He had many enthusiastic fans in the English community there. A series of subscription concerts that was organized there late in the year was a raging success. Some of his best-loved works were featured. They included the <i>Te Deum</i> and <i>Jubilate</i> (December 10); <i>L'Allegro, il Penseroso, ed il Moderato</i> (December 23), on John Milton's text [http://en.wikipedia.org/wiki/John_Milton]; repeated by command of the Viceroy on January 13, 1742; and a double bill featuring <i>Acis and Galatea</i> with <i>Alexander's Feast</i> on January 20th, with an encore performance a week later. Each concert included concertos in addition to vocal and choral works. The concerts were given in the new Neale's Music Hall on Fishamble St. Handel wrote to Charles Jennens on December 29, 1741, that the most recent subscription concert [December 23] attracted an audience of 600, among which were not only "Ladyes of Distinction" but also "many Bishops, Deans, Heads of the Colledge, [and] the most eminent People in the Law...all of which are very much taken with [Milton's] poetry." [Baselt, IV, 341]. <br />
<br />
The series continued with other of Handel's best-loved works--<i>Acis and Galatea</i> paired with <i>The Ode for St. Cecilia's Day</i>, based on the text of John Dryden [http://en.wikipedia.org/wiki/John_Dryden], on January 20 and 27, 1742. Jonathan Swift [http://en.wikipedia.org/wiki/Jonathan_Swift], then dean of St. Patrick's Cathedral [http://en.wikipedia.org/wiki/St_Patrick%27s_Cathedral,_Dublin], Dublin, was persuaded by the growing reputation of the performances to permit eight of his singers to join the weekly programs of the Charitable Musical Society (through which all the concerts were benefits).<br />
<br />
===<i>Samson</i> (HWV 57)===<br />
<br />
Handel's three-act oratorio <i>Samson</i> is based on Newburgh Hamilton's reworking of John Milton's epic poem <i>Samson Agonistes</i> of 1671. It was composed in September and October 1741, revised in 1742, and performed for the first time on February 18, 1743 at the Theatre Royal, Covent Garden. Several revivals followed over the coming years. It remained in the repertory up to Handel's death.<br />
<br />
* <b>Autograph score</b> (British Library), preceded by critical notes, is [http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=R.M.20.f.6 here].<br />
<br />
===<i>Semele</i> (HWV 58)===<br />
<br />
Handel's oratorio was composed in the early summer of 1743. It was indebted to a 1706 opera of the same name set by [https://en.wikipedia.org/wiki/John_Eccles_(composer) John Eccles] on a text by [https://en.wikipedia.org/wiki/William_Congreve William Congreve], who in turn was inspired by Ovid's <i>Metamorphoses</i>. The premiere took place at the Theatre Royal, Covent Garden the following year. <i>Semele</i> is notable for its numerous choruses, imaginative orchestration, and the punctuation of Jupiter's rage. These traits present a steady crescendo through all of Handel's oratorios of the 1740s, although <i>Semele</i>, which had its premier on 10 February 1744, had few revivals in Handel's lifetime. The Philharmonia Baroque performances, based on this edition by Frances Bennion, Nicholas McGegan, and Eleanor Selfridge-Field, took place in the year 2000.<br />
<br />
The performance materials below were produced from the same edition, which is based on these sources: GB-Lbl [British Library] R.M. 20.c.2, R.M. 20.f.7. RM 18.e.4, R.M. 19.d.6, R.M. 19.b.3; the Fitzwilliam Museum, Cambridge, 30 H 9; and the Gerald Coke Papers, A 25. <br />
<br />
{| class="wikitable"<br />
|-<br />
! Title !! Catalog No. !! Content !! Notes<br />
|-<br />
| <i>Semele</i> || HWV 58 || Oratorio in three parts || First performed London 1744; CCARH edn. 2000 by Frances Bennion, Nicholas McGegan, and Eleanor Selfridge-Field<br />
|-<br />
| <i>Semele</i> || HWV 58 || Full score || <br />
|-<br />
| <i>Semele</i> || HWV 58 || Vocal/choral score || <br />
|-<br />
| <i>Semele</i> || HWV 58 || Parts || V1, V2, Va; Ob1, Ob2; Hrn 1, Hrn2, Tr1, Tr2, Timp; Basso Continuo<br />
|}<br />
<br />
* <b>Downloadable [http://scores.ccarh.org/handel/semele/4-9_Semele-combined-score.pdf score]</b><br />
<br />
* <b>Downloadable [http://scores.ccarh.org/handel/semele/4-9_Semele-all-parts.pdf parts]</b><br />
<br />
* <b>Autograph [http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=R.M.20.f.7 score] </b> (British Library) with critical notes<br />
<br />
===<i>Joseph and his brethren</i> (HWV 59)===<br />
<br />
The oratorio <i>Joseph and his brethren</i> is based on a text by James Miller's paraphrase from the Book of Moses. Its premiere was given at the Theatre Royal, Covent Garden, on March 2, 1744. It had revivals in 1745, 1747, and 1751. <br />
<br />
* <b>Autograph score</b> (British Library), preceded by critical notes, is [http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=R.M.20.e.10 here].<br />
<br />
===<i>Hercules</i> (HWV 60)===<br />
<br />
<i>Hercules</i>, a three-act "musical drama," was fashioned by Thomas Broughton (1704-1744) from material by Sophocles and Ovid. The music was composed in 1744, while the first performance took place at the King's Theatre, Haymarket, on January 5, 1745. The work was revived in 1749 and 1752. <br />
<br />
* <b>Autograph score</b> (British Library), preceded by critical notes, is [http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=R.M.20.e.8 here].<br />
<br />
===<i>Belshazzar</i> (HWV 61)===<br />
Composed autumn 1743. Performed 1745-1758.<br />
<br />
===<i>Judas Maccabaeus</i> (HWV 63)===<br />
Composed summer 1746. Revised many times. Performed 1747-1759.<br />
<br />
===<i>Joshua</i> (HWV 64)===<br />
Composed summer 1747. Performed 1748-54.<br />
<br />
===<i>Alexander Balus</i> (HWV 65)===<br />
Composed summer 1747. Performed 1748, 1754.<br />
<br />
===<i>Susanna</i> (HWV 66)===<br />
<br />
[[File:Susanna_and_the_Elders_MET_DP855459.jpg|thumb|right|400px|<small><i>Susanna and the Elders</i>, print by George Pencz (c1500-1550), Elisha Whittelsey Collection, Metropolitan Museum of Art DP855459, CC)</small>]]<br />
Handel's oratorio <i>Susanna</i>, which is based on a story from the Apocrypha here conveyed in an anonymous text, had its first performance in London on February 10, 1749, six months after it was completed. It was shortened ten years later, but Handel did not live to attend the second performance (March 9, 1759). Both performances took place at Covent Garden. <i>Susanna</i> was the first major work by Handel encoded and edited digitally by CCARH (1989) under the supervision of Nicholas McGegan, John Roberts, and Eleanor Selfridge-Field. <br />
<br />
{{Template:Handel_Susanna}}<br />
<br />
===<i>Solomon</i> (HWV 67)===<br />
Composed spring 1748. Performed 1749, 1759.<br />
<br />
===<i>Theodora</i> (HWV 68)===<br />
Composed summer 1749. Performed 1750, 1755.<br />
<br />
===<i>Jephtha</i> (HWV 70)===<br />
Composed January-August 1751. Performed 1752-1758.<br />
<br />
==Cantatas, Odes, and Serenatas==<br />
<br />
===<i>Clori, Tirsi, e Fileno</i> (HWV 96)===<br />
This pastoral cantata for three voices, composed in 1707, was considered lost until recent times. The noted Handel scholar [https://en.wikipedia.org/wiki/Anthony_Hicks Anthony Hicks] edited this version, which had its first modern performances by [https://en.wikipedia.org/wiki/Philharmonia_Baroque_Orchestra Philharmonia Baroque] in San Francisco, Berkeley, and Palo Alto in 1989. [https://en.wikipedia.org/wiki/Lorraine_Hunt_Lieberson Lorraine Hunt Lieberson] portrayed the indecisive shepherdess who could not choose between her suitors. The archlute continuo part included here for Fileno's aria "Come la rondinella" (2.13)--in which Clori's retreat is likened to the Egyptian swallow returning to its nest--was requisitioned by Hicks and the whole performed by Philharmonia Barqoue, under Nicholas McGegan. It was recorded for Harmonia Mundi in 1992. The cantata is also known by the opening text "Cor fedele, in vano speri" ("My faithful heart, you hope in vain").<br />
<br />
{| class="wikitable"<br />
|-<br />
! Title !! Catalog No. !! Content !! Notes<br />
|-<br />
| Clori, Tirsi, e Fileno || HWV 96 || Cantata à 3 || <br />
|-<br />
| Clori, Tirsi, e Fileno || HWV 96 || Score || <br />
|-<br />
| Clori, Tirsi, e Fileno || HWV 96 || Short score || <br />
|-<br />
| Clori, Tirsi, e Fileno || HWV 96 || Archlute obbligato for aria 2.13 ||<br />
<br />
|}<br />
<br />
===<i>Ode for the Birthday of Queen Anne</i> (HWV 74)===<br />
Composed 1713, revised 1714, but not performed.<br />
<br />
===<i>Acis and Galatea</i> (HWV 49)===<br />
Serenata composed in 1718, revised in 1732.<br />
<br />
===<i>Alexander's Feast</i> (HWV 75)===<br />
Handel composed the music for John Dryden's poem <i>Alexander's Feast, or The Power of Music</i> in 1736. It proved to be one of his best-loved works. Performances continued through 1755.<br />
<br />
After his defeat of Darius in ancient Persopolis [http://en.wikipedia.org/wiki/Persepolis] (modern-day Iran) in 330 BCE, Alexander held a lavish feast. The poem Handel set was adapted by Newburgh Hamilton [http://en.wikipedia.org/wiki/Newburgh_Hamilton] from the original work by John Dryden. Published in 1697, three years before Dryden's death, it was subtitled <i>A Song in Honor of St. Cecilia</i>, and was written to celebrate the feast (November 22) of the patroness saint of musicians. Every verse was followed by a chorus. <br />
<br />
Hamilton, who was from County Tyrone (then Ireland), also wrote the texts for Handel's <i>Samson</i> (1743) and the <i>Occasional Oratorio</i> (1746).<br />
<br />
===<i>Ode for St. Cecilia's Day</i> (HWV 76)===<br />
Composed in 1739 on Dryden's "From harmony, from heav'nly harmony," the <i>Ode for St. Cecilia's Day</i> was first performed at Lincoln's Inn Fields Theater with <i>Alexander's Feast</i> on November 22, 1739. It enjoyed instant popularity. In concerts it was usually paired with other odes and serenatas from this period.<br />
<br />
===<i>L'Allegro, Il Penseroso ed il Moderato</i> (HWV 55)===<br />
Composed 1740 on text adapted from Milton by J. Harris and Charles Jennens (part III). Performed through 1755.<br />
<br />
=Instrumental Music=<br />
<br />
The extensive studies of the late Anthony Hicks on Handel's operas and oratorios persuaded him that Handel's instrumental works were rarely conceived in isolation from his stage works. For many amateur musicians of the early eighteenth century the separate prints of instrumental pieces were nonetheless warmly welcomed, for they enabled players to appeal to prospective audiences without the expense of careful preparation of stage works. It is difficult now to regularly link specific pieces with components of stage performances unless some clue was left by the composer himself. Handel was notorious for recycling musical ideas, but considering the extent of his output, it cannot be said that he compromised either his models or their resemblance in works composed downstream. <br />
<br />
==Trio sonatas Op. 2 (1730)==<br />
This set of trio sonatas for two violins (or two flutes or two oboes) with basso continuo had a curious history, for it was not authorized by Handel. A 1730 print ostensibly by the Amsterdam publisher Michel Charles Le Cène was in fact a new opus printed in London. Such subterfuges were not unknown in book or music publishing at the time, and when the creative artist was famous, it was a risky proposition. The actual publisher, John Walsh, regularly "reprinted" volumes brought out by Le Cène, though often with changed orders and selections of works. But for the absence of a true Le Cène model, the sonatas of Op. 2 were such a case. The contents of the Walsh print of 1733 were not entirely the same as those of the 1730 imposter. Handel was paranoid about the theft of intellectual property, which in his case meant the physical trays of set type from which prints were made. Arias from his operas were in especially high demand. <br />
<br />
In this case Handel benefitted from the Walsh 1733 print, for it was much discussed on account of its evolving identity and sold well. The optional use of flutes and/or oboes accommodated the (then) current popularity of celebrations of nature. The flute was associated with bird calls, and pamphlets of instruction on how to imitate particular species on the flute were easily available. It is unclear why these works were published at the time other than to accommodate such changes of taste. The dates of composition ranged over two decades, from 1699 onward. <br />
<br />
Friedrich Chrysander, who produced editions of nearly all of Handel's music, complicated the Le Cène-Walsh story by adding a further four works (HWV 386a, HWV 392, HWV 393, HWV 394) to the six accepted ones. These added works are generally now considered to be spurious.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! No. !! Cat. No. !! Genre / Instruments !! Key !! Score<br />
|-<br />
| No. 1 || HWV 386b || Trio sonata / 2V [alt 2Fl or 2Ob], Bc || B Minor || <br />
|-<br />
| No. 2 || HWV 387 || Trio sonata / 2V [alt 2Fl or 2Ob], Bc || G Minor || <br />
|-<br />
| No. 3 || HWV 388 || Trio sonata / 2V [alt 2Fl or 2Ob], Bc || B{{music|flat}} Major || <br />
|-<br />
| No. 4 || HWV 389 || Trio sonata / 2V [alt 2Fl or 2Ob], Bc || F Major || <br />
|-<br />
| No. 5 || HWV 390 || Trio sonata / 2V [alt 2Fl or 2Ob], Bc || G Minor || <br />
|-<br />
| No. 6 || HWV 391 || Trio sonata / 2V [alt 2Fl or 2Ob], Bc || G Minor || <br />
|}<br />
<br />
==Concertos for Two Oboes, Two Bassoons, Strings, and Continuo, Op. 3==<br />
<br />
As in the later orchestral suites, Op. 6, Handel plays with instrument pairings here. He may assign a common part to oboe/bassoon pairs, to oboe/violin pairs, or to both oboes. Handel's instrumentation is notably fluid in its arrangements. Cello and Basso continuo may have a common part or differentiated parts. The cello may be doubled by a bassoon. Handel is famously diligent about dropping the reinforcing part mid-movement without ever having specified it at the outset. His overall aim of varied approaches is eminently clear. <br />
<br />
Music encoded by Steve Rasmussen.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Work No. !! Cat. No. !! Genre / Instruments !! Key !! Score<br />
|-<br />
| No. 1 || HWV 312 || Concerto / 2Ob, 2Bn; 2Vn, 2Va, Vc, Bc || B{{music|flat}} Major || <br />
|-<br />
| No. 2 || HWV 313 || Concerto / 2Ob, 2Bn; 2Vn, 2Va, Vc, Bc || B{{music|flat}} Major || <br />
|-<br />
| No. 3 || HWV 314 || Concerto / 2Ob, 2Bn; 2Vn, 2Va, Vc, Bc || G Major || <br />
|-<br />
| No. 4 || HWV 315|| Concerto / 2Ob, 2Bn; 2Vn, 2Va, Vc, Bc || F Major || <br />
|-<br />
| No. 5 || HWV 316 || Concerto / 2Ob, 2Bn; 2Vn, 2Va, Vc, Bc || F Major || <br />
|-<br />
| No. 6 || HWV 317 || Concerto / 2Ob, 2Bn; 2Vn, 2Va, Vc, Bc || D Major || <br />
|}<br />
<br />
==Trio sonatas Op. 5 (1739)==<br />
The seven trio sonatas published as Op. 5 give the impression of a miscellany incorporating pieces related to overtures for anthems and dances from various operas. Yet in contrast to the set in Op. 2, this print was authorized. The set was published at a time when Handel's operas were being produced at the King's Theater in the Haymarket.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Work No. !! Catalogue No. !! Genre / Intruments !! Key !! Score<br />
|-<br />
| No. 1 || HWV 396 || Trio sonata / 2V, Bc || A Major || <br />
|-<br />
| No. 2 || HWV 397 || Trio sonata / 2V, Bc || D Major || <br />
|-<br />
| No. 3 || HWV 398 ||Trio sonata / 2V, Bc || E Minor || <br />
|-<br />
| No. 4 || HWV 399 || Trio sonata / 2V, Bc || G Major || <br />
|-<br />
| No. 5 || HWV 400 || Trio sonata / 2V, Bc || G Minor || <br />
|-<br />
| No. 6 || HWV 401 || Trio sonata / 2V, Bc || F Major || <br />
|-<br />
| No. 7 || HWV 402 || Trio sonata / 2V, Bc || B{{music|flat}} Major || <br />
|}<br />
<br />
==Orchestral Concerti Op. 6==<br />
<br />
The orchestral concertos presented here were first performed between September 29 and October 30, 1739. They were conceived as orchestral pieces, but each one takes a slightly different approach to the concerto idea. Like the concerto grosso, each work has separate parts for principal violins, but the way the parts proceed is unpredictable. In the first two works the principal violins are differentiated by their melodic importance in the slow movements. In many others, the first principal and the first ripieno instruments may be paired against the second principal and second ripienos. In some slow movements there is relatively little independence of parts and a lot of unison scoring. It seems that Handel at this juncture was seeking simplification, and perhaps concentrating on plaintive expression, as in the slow movement of the final piece, No. 12, more than frenzied activity. True virtuosic writing is largely absent, but the scope of elaboration of his melodies is large. Oboe parts (largely duplicating the violins) were later added to Nos. 1, 2, 5, and 6. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Work, No. !! Catalogue No. !! Genre / Instruments !! Key !! Score<br />
|-<br />
| Op. 6, No. 1 || HWV 319 || Concerto / V1 V2; V1 V2 Va Vc Bc || G Major || <br />
|-<br />
| Op. 6, No. 2 || HWV 320 || Concerto / V1 V2; V1 V2 Va Vc Bc || F Major || [http://scores.ccarh.org/handel/op6/02/HandelOp602.pdf Full score] <br />
|-<br />
| Op. 6, No. 3 || HWV 321 || Concerto / V1 V2; V1 V2 Va Vc Bc || E Minor || [http://scores.ccarh.org/handel/op6/03/HandelOp603.pdf Full score]<br />
|-<br />
| Op. 6, No. 4 || HWV 322 || Concerto / V1 V2; V1 V2 Va Vc Bc || A Minor || [http://scores.ccarh.org/handel/op6/04/HandelOp604.pdf Full score]<br />
|-<br />
| Op. 6, No. 5 || HWV 323 || Concerto / V1 V2; V1 V2 Va Vc Bc || D Major || [http://scores.ccarh.org/handel/op6/05/HandelOp605.pdf Full score]<br />
|-<br />
| Op. 6, No. 6 || HWV 324 || Concerto / V1 V2; V1 V2 Va Vc Bc || G Minor || [http://scores.ccarh.org/handel/op6/06/HandelOp606.pdf Full score]<br />
|-<br />
| Op. 6, No. 7 || HWV 325 || Concerto / V1 V2; V1 V2 Va Vc Bc || B{{music|flat}} Major || [http://scores.ccarh.org/handel/op6/07/HandelOp607.pdf Full score]<br />
|-<br />
| Op. 6, No. 8 || HWV 326 || Concerto / V1 V2; V1 V2 Va Vc Bc || C Minor || [http://scores.ccarh.org/handel/op6/08/HandelOp608.pdf Full score] <br />
|-<br />
| Op. 6, No. 9 || HWV 327 || Concerto / V1 V2; V1 V2 Va Vc Bc || D Minor || [http://scores.ccarh.org/handel/op6/09/HandelOp609.pdf Full score]<br />
|-<br />
| Op. 6, No. 10 || HWV 328 || Concerto / V1 V2; V1 V2 Va Vc Bc || D Minor || <br />
|-<br />
| Op. 6, No. 11 || HWV 329 || Concerto / V1 V2; V1 V2 Va Vc Bc || A Major || [http://scores.ccarh.org/handel/op6/11/HandelOp611.pdf Full score]<br />
|-<br />
| Op. 6, No. 12 || HWV 330 || Concerto / V1 V2; V1 V2 Va Vc Bc || B Minor || [http://scores.ccarh.org/handel/op6/12/HandelOp612.pdf Full score]<br />
|}<br />
<br />
=References=<br />
* [http://ichriss.ccarh.org/HRD Handel Reference Database].<br />
<br />
* William H. Grattan Flood. <i>A History of Irish Music.</i></div>Edchttps://wiki.ccarh.org/index.php?title=MuseData:_Johann_Sebastian_Bach&diff=10523MuseData: Johann Sebastian Bach2021-04-07T03:26:35Z<p>Edc: /* Brandenburg Concertos */</p>
<hr />
<div><br />
==Sacred Vocal Works==<br />
<br />
=== Cantatas ===<br />
<br />
Bach's sacred cantatas are among his most treasured and ample groups of pieces. They come predominately from his first years in Leipzig (1723-1750). The main movement types are arias, duos, and choruses, interleaved with recitatives. Instrumentation varies according to the text: Bach lived in a time of many conventions associating specific instruments with attitudes and emotions such as grief and joy but also triumph, sorrow, contrition, and so forth. <br />
<br />
====Cantatas Nos. 1-10 (BWV 1-10)====<br />
<br />
{| class="wikitable sortable"<br />
|-!! <br />
! Item No. !! Title !! Catalogue No. !! Voices !! Instruments !! Key !! Score <br />
|-<br />
| No. 1 || Wie schön leuchtet der Morgenstern || BWV 1 || SATB || 2Hn, 2ObdC; 2VnPr, 2Vn, Va, Bc || G Major || [https://pdf.musedata.org/?id=bachjs-bwv0001&L1=(C)%201990,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Cantata%20No.%201:%20Wie%20sch%C3%B6n%20leuchtet%20der%20Morgenstern%20(BWV%201)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Walter%20B.%20Hewlett,%20eds.&R3=BWV%201 BWV 1] <br />
|-<br />
| No. 2 || Ach Gott, von Himmel sieh darein || BWV 2 || SATB || 4Trb, 2Ob; 2Vn, Va, Bc || F Major || [https://pdf.musedata.org/?id=bachjs-bwv0002alt&L1=(C)%201991,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Cantata%20No.%202:%20Ach%20Gott,%20von%20Himmel%20sieh%20darein%20(BWV%202)%20(alt)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Walter%20B.%20Hewlett,%20eds.&R3=BWV%202alt BWV 2]<br />
|-<br />
| No. 3 || Ach Gott, wie manches Herzeleid || BWV 3 || SATB || 2ObdA; 2Vn, Va, Bc || A Major || [https://pdf.musedata.org/?id=bachjs-bwv0003alt&L1=(C)%201991,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Cantata%20No.%203:%20Ach%20Gott,%20wie%20manches%20Herzeleid%20(BWV%203)%20(alt)&R1=%P%20of%20%C&R2=Steven%20C. BWV 3]<br />
|-<br />
| No. 4 || Christ lag in Todesbanden || BWV 4 || SATB || Crn, 3Trb; 2Vn, 2Va, Bc || E Minor || [https://pdf.musedata.org/?id=bachjs-bwv0004alt&L1=(C)%201991,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Cantata%20No.%204:%20Christ%20lag%20in%20Todesbanden%20(BWV%204)%20(alt)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Walter%20B.%20Hewlett,%20eds.&R3=BEV%204alt BWV 4]<br />
|-<br />
| No. 5 || Wo soll ich fliehen hin || BWV 5 || SATB || 2Ob, Sl Tr; 2Vn, Va, Bc || G Minor || [https://pdf.musedata.org/?id=bachjs-bwv0005&L1=(C)%201991,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Cantata%20No.%205:%20Wo%20soll%20ich%20fliehen%20hin%20(BWV%205)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Walter%20B.%20Hewlett,%20eds.&R3=BWV%205 BWV 5]<br />
|-<br />
| No. 6 || Bleib bei uns, denn es will Abend werden || BWV 6 || Example || Example || Example || Example<br />
|-<br />
| No. 7 || Christ unser Herr zum Jordan kamm || BWV 7 || Example || Example || Example || Example<br />
|-<br />
| No. 8 || Liebster Gott, wenn werd ich sterben || BWV 8 || Example || Example || Example || Example<br />
|-<br />
| No. 9 || Es ist das Heil uns kommen her || BWV 9 || Example || Example || Example || Example<br />
|-<br />
| No 10 || Meine Seel erhebt den Herren || BWV 10 || Example || Example || Example || Example<br />
|}<br />
<br />
====Cantatas Nos. 11-50 (BWV 11-50)====<br />
<br />
If there is a baseline for measuring Bach's progress as a composer of cantatas, the cantata BWV 23 is it. On 7 February 1723 Bach used it for his audition for the position of cantor at the Thomas Kirche in Leipzig. It opens with an Adagio for soprano and contralto and concludes with a robust chorus of substantial proportions. <br />
<br />
{| class="wikitable"<br />
|-<br />
! Item No. !! Title !! Catalogue No. !! Voices !! Instruments !! Key !! Score <br />
|-<br />
| Example || Example || Example || Example || Example || Example || <br />
|-<br />
| No. 23 || Du wahrer Gott und Davids Sohn || BWV 23 || SATB || 2Ob; 2Vn, Va, Bc || C Minor || [https://pdf.musedata.org/?id=bachjs-bwv0023&L1=(C)%201996,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Cantata%20No.%2023:%20Du%20wahrer%20Gott%20und%20Davids%20Sohn&R1=%P%20of%20%C&R2=Walter%20B.%20Hewlett,%20,%20eds.&R3=BWV%2023 BWV 23]<br />
|-<br />
| Example || Example || Example || Example || Example || Example ||<br />
|-<br />
| No. 42 || Am Abend aber desselbigen Sabbats || BWV 42 || SATB || 2Ob, Fg; 2Vn, Va, Org, Bc || F# Minor || [https://pdf.musedata.org/?id=bachjs-bwv0042&L1=(C)%201994,%202002%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Cantata%20No.%2042:%20Am%20Abend%20aber%20desselbigen%20Sabbats&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20,%20eds.&R3=BWV%2042 BWV 42]<br />
|-<br />
| No. 43 || Gott fähret auf mit Jauchzen || BWV 43 || SATB || 3Tr, Timp, 2Ob; 2Vn, Va, Bc || G Major || [https://pdf.musedata.org/?id=bachjs-bwv0043&L1=(C)%201994,%202002%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Cantata%20No%2043:%20Gott%20f%C3%A4hret%20auf%20mit%20Jauchzen&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20,%20eds.&R3=BWV%2043 BWV 43]<br />
|-<br />
| No. 44 || Sie werden euch in den Bann tun || BWV 44 || SATB || 2Ob, Fg; 2Vn, Va, Bc || Bb Major || [https://pdf.musedata.org/?id=bachjs-bwv0044&L1=(C)%201994,%202002%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Cantata%20No.%2044:%20Sie%20werden%20euch%20in%20den%20Bann%20tun&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20,%20eds.&R3=BWV%2044 BWV 44]<br />
|-<br />
|No. 45 || Es ist dir gesagt, Mensch, was gut ist || BWV 45 || SATB || 2Fl, 2Ob; 2Vn, Va, Bc || E Major || [https://pdf.musedata.org/?id=bachjs-bwv0045&L1=(C)%201994,%202002%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Cantata%20No.%2045:%20Es%20ist%20dir%20gesagt,%20Mensch,%20was%20gut%20ist&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20,%20eds.&R3=BWV%2045 BWV 45]<br />
|-<br />
|No. 46 || Schauet doch und sehet, ob irgend ein Schmerz sei || BWV 46 || SATB || 2Fl, Tr, 2ObdC; 2Vn, Va, Bc || D Minor || [https://pdf.musedata.org/?id=bachjs-bwv0046&L1=(C)%201994,%202002%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Cantata%20No.%2046:%20Schauet%20doch%20und%20sehet,%20ob%20irgend%20ein%20Schmerz%20sei&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20,%20eds.&R3=BWV%2046 BWV 46]<br />
|-<br />
| No. 47 || Wer sich selbst erhöhet, der soll erniedriget werden || BWV 47 || SATB || 2Ob; 2Vn, Va, Bc || G Minor || [https://pdf.musedata.org/?id=bachjs-bwv0047&L1=(C)%201994,%202002%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Cantata%20No.%2047:%20Wer%20sich%20selbst%20erhoehet,%20der%20soll%20erniedriget%20werden&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20,%20eds.&R3=BWV%2047 BWV 47]<br />
|-<br />
| No. 48 || Ich elender Mensch, wer wird mich erlösen || BWV 48 || SATB || Tr, 2Ob; 2Vn, Va, Bc || G Minor || [https://pdf.musedata.org/?id=bachjs-bwv0047&L1=(C)%201994,%202002%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Cantata%20No.%2047:%20Wer%20sich%20selbst%20erhoehet,%20der%20soll%20erniedriget%20werden&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20,%20eds.&R3=BWV%2047 BWV 48] <br />
|-<br />
| No. 49 || Ich geh und suche mit Verlangen || BWV 49 || SATB || ObdA; 2Vn, Va, Org, Bc || E Major || [https://pdf.musedata.org/?id=bachjs-bwv0049&L1=(C)%201994,%202002%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Cantata%20No%2049:%20Ich%20geh%20und%20suche%20mit%20Verlangen&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20Jr.,%20eds.&R3=BWV%2049 BWV 49]<br />
|-<br />
|}<br />
<br />
====Performing editions of Bach cantatas by Craig Smith (Emmanuel Music)====<br />
<br />
[https://en.wikipedia.org/wiki/Craig_Smith_(conductor) Craig Smith] (1947-2007), the founder of the ensemble [https://en.wikipedia.org/wiki/Emmanuel_Music Emmanuel Music] in Boston, was perhaps the most devoted conductor of the genre active in the U.S. The editions appearing in the table below reflect his ideas about how the pieces should be performed. These editions were made by CCARH in cooperation with the conductor.<br />
<br />
{| class="wikitable"<br />
|-<br />
! Catalogue No. !! Title !! Voices !! Instruments !! Score !! Choral score !! Parts<br />
|-<br />
| BWV 135 || Ach Herr, mich armen Sünder || SATB || Example || || ||<br />
|-<br />
| BWV 136 || Example || SATB || Example || || ||<br />
|-<br />
| Example || Example || Example || Example || || ||<br />
|-<br />
| Example || Example || Example || Example || || ||<br />
|-<br />
| Example || Example || Example || Example || || ||<br />
|-<br />
|}<br />
<br />
===Motets===<br />
<br />
Bach's six motets are well known to choirs and choral groups. Each one was composed and performed for a funeral or memorial service. Each reflects on the personal relationship between the recently deceased and God by proclaiming joy at the imminent reunion with Him in Heaven. Nos. 4 and 6 are thought to have been composed during Bach's Weimar period (1708-1717), the remainder subsequently. These were composed between 1723 and 1732, during Bach's long tenure in Leipzig. Opinions vary on the question of whether two additions motets ("Ich lasse dich nicht," BWV Anh. 159, and "Jauchzet dem Herrn, alle Welt," BWV 160) are partly by Bach or entirely by other members of his family. Although some motets were composed for funeral services, others may have been performed at festive celebrations. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Work No. !! Title !! Catalogue No. !! Voices !! Score<br />
|-<br />
| No. 1 || Singet dem Herrn ein neues Lied || BWV 225 || SATB, SATB || [https://pdf.musedata.org/?id=bachjs-bwv0225&L1=(C)%201990,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Six%20Motets&R1=%P%20of%20%C&R2=Edmund%20Correia,%20Jr.&R3=BWV%20225 BWV 225]<br />
|-<br />
| No. 2 || Der Geist hilft unser Schwachheit auf || BWV 226 || SATB, SATB || [https://pdf.musedata.org/?id=bachjs-bwv0226&L1=(C)%201990,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Six%20Motets&R1=%P%20of%20%C&R2=Edmund%20Correia,%20Jr.&R3=BWV%20226 BWV 226]<br />
|-<br />
| No. 3 || Jesu, meine Freude || BWV 227 || SSATB || [https://pdf.musedata.org/?id=bachjs-bwv0227&L1=(C)%201990,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Motet%20No.%203:%20Jesu,%20meine%20Freude%20(BWV%20227)&R1=%P%20of%20%C&R2=Edmund%20Correia,%20Jr.&R3=BWV%20227 BWV 227]<br />
|-<br />
| No. 4 || Fürchte dich nicht, ich bin bei dir || BWV 228 || SATB, SATB, insts. || [https://pdf.musedata.org/?id=bachjs-bwv0228&L1=(C)%201990,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Six%20Motets&R1=%P%20of%20%C&R2=Edmund%20Correia,%20Jr.&R3=BWV%20228 BWV 228]<br />
|-<br />
| No. 5 || Komm, Jesu, komm || BWV 229 || SATB || [https://pdf.musedata.org/?id=bachjs-bwv0229-mvmt1&L1=(C)%201990,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Six%20Motets&R1=%P%20of%20%C&R2=Edmund%20Correia,%20Jr.&R3=BWV%20229 BWV 229]<br />
|-<br />
| No. 6 || Lobet den Herrn, alle Heiden || BWV 230 || SATB, Bc || [https://pdf.musedata.org/?id=bachjs-bwv0230&L1=(C)%201990,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Six%20Motets&R1=%P%20of%20%C&R2=Edmund%20Correia,%20Jr.&R3=BWV%20230 BWV 230]<br />
|}<br />
<br />
=== Masses ===<br />
<br />
==== The B-Minor Mass (BWV 232) ====<br />
Bach's B-Minor Mass was assembled in bits and pieces. Like the building of a great cathedral, its overall structure and content may not have been appreciated by those who perceived only a few gargoyles or saw one stained-glass window. In its entirety it was a colossus of its own kind. It was difficult to comprehend. It required a long acquaintance to absorb its dimensions, angles, and superstructures.<br />
<br />
=====Historical and cultural background=====<br />
Bach presented his first setting of the Kyrie and Gloria to Friedrich August II, Elector of Saxony, soon after his ascension in 1733. The Saxon court had converted to Catholicism in 1697, partly to facilitate an eventual link to the Polish throne, and the new duke also served as Augustus III of Poland. With his Thuringian origins, Bach served Leipzig's Thomas-Schule (from 1723 until his death in 1750) with the strict devotion characteristic of Lutheranism of the time. Bach was born under the shadow of the Wartburg, where Martin Luther translated the Greek New Testament into the German vernacular.<br />
<br />
Elsewhere at the time the idea of a devout Protestant composing an elaborate Catholic mass would have presented many conflicts of ideology and interpretation, but Bach transcended those conflicts by allowing art to guide him through the process. Bach expanded the Credo and completed the remaining sections of the mass in 1748 and 1749. In its fullest form the B-Minor Mass became a resume of the composer's earlier activities, as it threaded elements of cantatas from his Weimar period into the fabric. Bach never felt his compositions were "perfect enough," and in recycling their remnants he also sought to improve them. In the end, the B-Minor Mass stands as an epitome of Bach's musical career. In some accounts Bach's goals went further still by embedding elements of the <i>stile antico</i> and Renaissance polyphony into his <i>magnum opus</i>.<br />
<br />
=====Liturgical structure and musical specifications=====<br />
<br />
Musically, the B-Minor Mass relies heavily on choral numbers, predominately for five voices (SSATB). (A point of controversy in recent years has been the question of whether these parts were sung exclusively, in Bach's presence, by soloists, by a chorus, or by a combination of the two.) Familiar and uncommon instruments are arrayed as appropriate. Overall, the timbre varies from one piece to the next. The elements of an ordinary mass are all present, but Bach has grouped them in his own way. What he calls the Missa (Mass) consists of the Kyrie and the Gloria. In keeping with the practice of other composers of his time, Bach makes each line of text the subject of a separate movement. Departing from tradition, he calls the Credo section (with its many separate pieces) the Symbolum Nicenum (in parallel with the English term Nicene Creed). The Sanctus constitutes the third section. The fourth section consists of the Hosannah, Benedictus, Agnus Dei, and the benediction, Dona nobis pacem. We divide the score below into Bach's four-sectional format.<br />
<br />
======<b>1. Mass in B-Minor (BWV 232): Kyrie and Gloria)</b>======<br />
{| class="wikitable"<br />
|-<br />
! Item number !! Title/text(s) !! Voices !! Instruments !! Key !! Notes !! Score !!<br />
|-<br />
| No. 1 || Kyrie eleison I || SSATB || 2Fl, 2ObdA, Bn; 2Vn, Va, Bc || B Minor || Example || [https://pdf.musedata.org/?id=bachjs-bwv232-kyrie1&L1=(C)%201990,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Masses&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20Edmund%20Correia,%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Missa--Kyrie eleison I]<br />
|-<br />
| No. 2 || Christe eleison || SS || 2Vn, Bc || D Major || Example || [https://pdf.musedata.org/?id=bachjs-bwv232-Christe&L1=(C)%201990,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Masses&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20Edmund%20Correia,%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Missa--Christe eleison]<br />
|-<br />
| No. 3 || Kyrie eleison 2 || SATB || 2Fl, 2ObdA, Bn; 2Vn, Va, Bc || F# Minor || Example || [https://pdf.musedata.org/?id=bach-bwv2232-Kyrie2&L1=(C)%201990,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Masses&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20Edmund%20Correia,%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Missa--Kyrie eleison II]<br />
|-<br />
| No. 4 || Gloria; Et in terra pax || SSATB || 3Tr, Timp; 2Fl, 2Ob, Bn; 2Vn, Va, Bc || D Major || Example || [https://pdf.musedata.org/?id=bach-bwv232-Gloria&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Gloria]<br />
|-<br />
| No. 5 || Laudamus te || S2 || Example || A Major || Example || [https://pdf.musedata.org/?id=bach-bwv232-Laudamus_te&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Laudamus te]<br />
|-<br />
| No. 6 || Gratias agimus tibi || SATB || 3Tr, Timp; 2Fl, 2Ob, Bn; 2Vn, Va, Bc || D Major || Example || [https://pdf.musedata.org/?id=bach-bwv232-Gratias_agimus&L1=(C)%201990,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Masses&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20Edmund%20Correia,%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Gratias agimus]<br />
|-<br />
| No. 7a || Domine Deus || ST || Fl; 2Vn, Va, Bc || G Major || Example || [https://pdf.musedata.org/?id=bach_bwv232-Domine_Deus&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Setven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Domine Deus]<br />
|-<br />
| No. 7b || Qui tollis peccata mundi || SATB || 2Fl; 2Vn, Va, Bc || F# Minor || Example || [https://pdf.musedata.org/?id=bach-bwv232-Qui_tollis&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Qui tollis peccata mundi ]<br />
|-<br />
| No. 8 || Qui sedes || A || ObdA; 2V, Va, Bc || B Minor || Example || [https://pdf.musedata.org/?id=bach-bwv232-Qui_sedes&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Qui sedes]<br />
|-<br />
| No. 9a || Quoniam tu solus sanctus || B || Hn, 2Bn, Bc || D Major || Example || [https://pdf.musedata.org/?id=bach-bwv232-Quoniam_tu_solus&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Quoniam tu solus sanctus]<br />
|-<br />
| No. 9b || Cum sancto spiritu || SSATB || 3Tr, Timp; 2Fl, 2Ob, Bn; 2Vn, Va, Bc || D Major || || [https://pdf.musedata.org/?id=bach-bwv232-Cum_sancto_spiritu&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Cum sancto spiritu]<br />
|}<br />
<br />
======<b>2. Mass in B-Minor (BWV 232): Credo (Symbolum Nicenum)</b>======<br />
<br />
{| class="wikitable"<br />
|-<br />
! Item number !! Title/text !! Voices !! Instruments !! Key !! Notes !! Score<br />
|-<br />
| No. 10 || Credo in unum Deum || SSATB || 2Vn, Bc || A Minor || Example || [https://pdf.musedata.org/?id=bach-bwv232-Credo_in_unum_DeumL1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Credo in unum Deum]<br />
|-<br />
| No. 11 || Patrem omnipotentem || SATB || 3Tr, Timp; 2Ob, 2Vn, Va, Bc || D Major || Example || [https://pdf.musedata.org/?id=bach-bwv232-Patrem_onipotentem&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Patrem omnipotentem]<br />
|-<br />
| No. 12 || Et in unum Dominum || SA || 2Vn, Bc || G Major || Example || [https://pdf.musedata.org/?id=bach-bwv232-Et_in_unum_Dominum&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Et in unum Dominum]<br />
|-<br />
| No. 13 || Et incarnatus est || SSATB || 2ObdA, 2Vn, Va, Bc || B Minor || Example || [https://pdf.musedata.org/?id=bach-bwv232-Et_incarnatus_est&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Et incarnatus est]<br />
|-<br />
| No. 14 || Crucifixus || SATB || 2Fl, 2Vn, Va, Bc || E Minor || Example || [https://pdf.musedata.org/?id=bach-bwv232-Crucifixus&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Crucifixus]<br />
|-<br />
| No. 15 || Et resurrexit || SSATB || 3Tr, Timp; 2Fl, 2Ob, 2Vn, Va, Bc || D Major || Example || [https://pdf.musedata.org/?id=bach-bwv232-Et_resurrexit&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Et resurrexit]<br />
|-<br />
| No. 16 || Et in Spiritum Sanctum || B || 2ObdA || A Major || Example || Example<br />
|-<br />
| No. 17 || Confiteor || SSATB || Example || F# Minor || Example || Example<br />
|-<br />
| No. 18 || Et expecto || SSATB || 3Tr, Timp; 2Fl, 2Ob, 2Vn, Va, Bc || D Major || Example || [https://pdf.musedata.org/?id=bach-bwv232-Confiteor-b&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Et expecto]<br />
|}<br />
<br />
======<b>3. Mass in B-Minor (BWV 232): Sanctus</b>======<br />
<br />
{| class="wikitable"<br />
|-<br />
! No. !! Title !! Voices !! Instruments !! Key !! Notes !! Score<br />
|-<br />
| No. 19 || Sanctus || SSATB || 3Tr, Timp; 3Ob, 2Vn, Va, Bc || D Major || Example || [https://pdf.musedata.org/?id=bach-bwv232-Sanctus&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Sanctus]<br />
|}<br />
<br />
======<b>4. Mass in B-Minor (BWV 232): Osanna, Benedictus; Agnus Dei, Dona nobis pacem</b>======<br />
<br />
{| class="wikitable"<br />
|-<br />
! Item number !! Title/text !! Voices !! Instruments !! Key !! Notes !! Score<br />
|-<br />
| No. 20 (22) || Osanna || SATB, SATB || 3Tr, Timp; 2Fl, 2Ob, 2Vn, Va, Bc || D Major || Example || [https://pdf.musedata.org/?id=bach-bwv232-Osanna1&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Osannna]<br />
|-<br />
| No. 21 || Benedictus || T || Vn, Bc || B Minor || Example || [https://pdf.musedata.org/?id=bach-bwv232-Benedictus&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Benedictus]<br />
|-<br />
| No. 23 || Agnus Dei || A || 2Vn, Bc || G Minor || Example || [https://pdf.musedata.org/?id=bach-bwv232-Agnus_Dei&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Agnus Dei]<br />
|-<br />
| No. 24 || Dona nobis pacem || SATB || 3Tr, Timp; 2Fl, 2Ob, 2Vn, Va, Bc || D Major || Example || [https://pdf.musedata.org/?id=bach-bwv232-Dona_nobis_pacem&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Dona nobis pacem]<br />
<br />
|}<br />
<br />
==Orchestral Works==<br />
<br />
=== Brandenburg Concertos ===<br />
<br />
Bach's six Brandenburg Concertos are demonstrations par excellence of both virtuosity and interplay between most of instruments available in Bach's time in Thuringia, where Bach was raised and held all his posts prior to moving to Leipzig in 1723. He composed them while living in Cöthen, which offered few of the resources required here but may have prompted Bach to show how many different combinations of sounds could be found in the broader palette of sonorities in use within a day's travel from the court. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Work No. !! Catalogue No. !! Genre / Instruments [[Instrument abbreviations | ? ]] !! Key !! Score (PDF) !! Concordances<br />
|-<br />
| No. 1 || BWV 1046 || Concerto / 2Hn, Ob, Bn; VPiccolo, 2Vn, Va, Vc, Vne, Cem || F Major || || BWV 1046/3 = BWV 207a/1. BWV 1046/7 = BWV 207a/5a. <br />
|-<br />
| No. 1a || BWV 1046a || Concerto / 2Hn, 3Ob, Bn; 2Vn, Va, Vc, Cem || F Major || [http://esf.ccarh.org/MuseData-Bach-PDFs/01-bwv1046a.pdf BWV 1046a] || BWV 1046a/1 = BWV 52/1<br />
|-<br />
| No. 2 || BWV 1047 || Concerto / Tr, Rec, Ob, VnPr; 2Vn, Va, Vc, Vne, Cem || F Major || [http://esf.ccarh.org/MuseData-Bach-PDFs/01-bwv1047.pdf BWV 1047] || <br />
|-<br />
| No. 3 || BWV 1048 || Concerto / 3Vn, 3Va, 3Vc, Vne, Cem || G Major || [http://esf.ccarh.org/MuseData-Bach-PDFs/01-bwv1048.pdf BWV 1048] || BWV 1048/1 = BWV 174/1<br />
|-<br />
| No. 4 || BWV 1049 || Concerto / VnPr, Rec; 2Vn, Va, Vc, Vne, Cem || G Major || [http://esf.ccarh.org/MuseData-Bach-PDFs/01-bwv1049.pdf BWV 1049] || BWV 1049 = BWV 1057<br />
|-<br />
| No. 5 || BWV 1050 || Concerto / Fl, VnPr, Cem concertato; Vn, Va, Vc, Vne, Cem || D Major || || <br />
|-<br />
| No. 5a || BWV 1050a || Concerto / Fl, VnPr, Cem concertato; Vn, Va, Vne || D Major || [http://esf.ccarh.org/MuseData-Bach-PDFs/01-bwv1050a_correct_version.pdf BWV 1050a] || <br />
|-<br />
| No. 6 || BWV 1051 || Concerto / 2Va, 2Va da gamba, Vc, Vne, Cem || B{{music|flat}} Major || [http://esf.ccarh.org/MuseData-Bach-PDFs/01-bwv1051.pdf BWV 1051] || <br />
|}<br />
<br />
===Miscellaneous Concertos===<br />
<br />
Copies from around 1730 survive for four miscellaneous concertos by Bach. Two or more of them may have been composed earlier, during Bach's Cöthen period. They follow three-movement plans, but relatively little is known about the circumstances for which they were intended. The sinfonia, judged to come from 1743-46, is believed to be detached from a lost cantata.<br />
<br />
BWV 1043, for two violins and strings, is one of Bach's best known and most widely played works.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Title !! Catalogue No. !! Genre / Instruments !! Key !! Notes !! Score<br />
|-<br />
| No. 1 || BWV 1041 || Concerto / VnPr; 2Vn, Va, Bc || A Minor || || [https://pdf.musedata.org/?id=bachjs-bwv1041&L1=(C)%201993,%202002%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Miscellaneous%20Orchestral%20Works&R1=%P%20of%20%C&R2=Steven%20Rassmussen&R3=BWV%201041 BWV 1041, 1st movement]<br />
|-<br />
| No. 2 || BWV 1042 || Concerto / || E Major || || Example<br />
|-<br />
| No. 3 || BWV 1043 || Concerto / 2VnPr; 2Vn, Va, Bc || D Minor || || [https://pdf.musedata.org/?id=bachjs-bwv1041&L1=(C)%201993,%202002%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Miscellaneous%20Orchestral%20Works&R1=%P%20of%20%C&R2=Steven%20Rassmussen&R3=BWV%201041 BWV 1043]<br />
|-<br />
| No. 4 || BWV 1044 || Concerto / || A Minor || || Example<br />
|-<br />
| No. 5 || BWV 1045 || Sinfonia / 3Tr, Timp, 2Ob; 2Vn, Va, Bc || D Major || || Example<br />
<br />
|}<br />
<br />
===Orchestral Suites===<br />
<br />
Bach's orchestral suites come down to our time in editions based on third-party manuscripts. Surviving parts date from c.1730-1745. Some argue that lost originals may have come from Cöthen years (1717-1723), with Prince Leopold of Anhalt-Cöthen being the intended recipient. Yet unlike the Brandenburgs, the orchestral suites were not envisaged as a set. (The attribution of a putative fifth orchestra suite, BWV 1070, is widely discredited. BWV 1071, which is effectively a suite, corresponds to BWV 1046a, the alternative version of the first Brandenburg Concerto.)<br />
<br />
Each suite has a distinctly different character, each calls for an ensemble of a different composition, and each consists of a different number and sequence of movements. The treble wind instrument in No. 2 (originally in A Minor) is variously claimed to have been an oboe or a violin, although the flute and viola parts for it are in Bach's hand on one manuscript set in Berlin. We know that Bach sometimes modified one or another aspect (e.g. key) of individual works in his instrumental collections to meld the whole into a coherent entity. This may not have been the case with the ouvertures (as the orchestral suites were originally named), but the latitude to make changes is ever-present. <br />
<br />
Earlier full or partial versions exist for two of the works, giving latitude to arguments for alternative instrumental choices. In the case of No. 2 (possibly the latest of the group), partisan perspectives on the principal part variously favor the violin ([https://en.wikipedia.org/wiki/Joshua_Rifkin Joshua Rifkin]), the flute ([https://boyer.temple.edu/about/faculty-staff Steven Zohn]), or the oboe ([https://en.wikipedia.org/wiki/Gonzalo_X._Ruiz Gonsalo Ruiz]). (<i>Copy dates in the table below do not establish date of composition.</i>) <br />
<br />
====No. 1. BWV 1066====<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Movement name !! Catalogue No. !! Instruments !! Key !! Earliest copy date !! Score<br />
|-<br />
| Ouverture || BWV 1066 || 2Ob, Bn, 2Vn, Va, Vc, Cb, Continuo || C Major || Leipzig, 1724-1725 || [https://pdf.musedata.org/?id=bachjs-bwv1066-mvmt1&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201066 BWV 1066: Ouverture]<br />
|-<br />
| Courante || BWV 1066 || 2Ob, Bn, 2Vn, Va, Vc, Cb, Continuo || C Major || Leipzig, 1724-1725 || [https://pdf.musedata.org/?id=bachjs-bwv1066-mvmt2&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201066 BWV 1066: Courante]<br />
|-<br />
| Gavottes 1, 2 || BWV 1066 || 2Ob, Bn, 2Vn, Va, Vc, Cb, Continuo || C Major || Leipzig, 1724-1725 || [https://pdf.musedata.org/?id=bachjs-bwv1066-mvmt3&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201066 BWV 1066: Gavottes 1, 2]<br />
|-<br />
| Forlane || BWV 1066 || 2Ob, Bn, 2Vn, Va, Vc, Cb, Continuo || C Major || Leipzig, 1724-1725 || [https://pdf.musedata.org/?id=bachjs-bwv1066-mvmt4&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201066 BWV 1066: Forlane]<br />
|-<br />
| Menuets 1, 2 || BWV 1066 || 2Ob, Bn, 2Vn, Va, Vc, Cb, Continuo || C Major || Leipzig, 1724-1725 || [https://pdf.musedata.org/?id=bachjs-bwv1066-mvmt5&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201066 BWV 1066: Menuets 1, 2]<br />
|-<br />
| Bourrées 1, 2 || BWV 1066 || 2Ob, Bn, 2Vn, Va, Vc, Cb, Continuo || C Major || Leipzig, 1724-1725 || [https://pdf.musedata.org/?id=bachjs-bwv1066-mvmt6&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201066 BWV 1066: Bourrées 1, 2]<br />
|-<br />
| Passepieds 1, 2 || BWV 1066 || 2Ob, Bn, 2Vn, Va, Vc, Cb, Continuo || C Major || Leipzig, 1724-1725 || [https://pdf.musedata.org/?id=bachjs-bwv1066-mvmt7&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201066 BWV 1066: Passepieds 1, 2]<br />
|-<br />
|}<br />
<br />
====No. 2. BWV 1067====<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Movement name !! Catalogue no. !! Instruments !! Key !! Earliest copy !! Score<br />
|-<br />
| Ouverture || BWV 1067 || Fl, 2Vn, Va, Vc, Cb, Continuo || B Minor || 1738-1739 || [https://pdf.musedata.org/?id=bachjs-bwv1067-mvmt1&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201067 BWV 1067: Ouverture]<br />
|-<br />
| Rondeau || BWV 1067 || Fl, 2Vn, Va, Vc, Cb, Continuo || B Minor || 1738-1739 || [https://pdf.musedata.org/?id=bachjs-bwv1067-mvmt2&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201067 BWV 1067: Rondeau]<br />
|-<br />
| Sarabande || BWV 1067 || Fl, 2Vn, Va, Vc, Cb, Continuo || B Minor || 1738-1739 || [https://pdf.musedata.org/?id=bachjs-bwv1067-mvmt3&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201067 BWV 1067: Sarabande]<br />
|-<br />
| Bourrées I, II || BWV 1067 || Fl, 2Vn, Va, Vc, Cb, Continuo || B Minor || 1738-1739 || [https://pdf.musedata.org/?id=bachjs-bwv1067-mvmt4&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201067 BWV 1067: Bourrées I, II]<br />
|-<br />
| Polonaise || BWV 1067 || Fl, 2Vn, Va, Vc, Cb, Continuo || B Minor || 1738-1739 || [https://pdf.musedata.org/?id=bachjs-bwv1067-mvmt5&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201067 BWV 1067: Polonaise, Double] (Based on Polish song [https://staremelodie.pl/piosenka/5109/Wezme_ja_kontusz "Wezmę ja kontusz"])<br />
|-<br />
| Menuet || BWV 1067 || Fl, 2Vn, Va, Vc, Cb, Continuo || B Minor || 1738-1739 || [https://pdf.musedata.org/?id=bachjs-bwv1067-mvmt6&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201067 BWV 1067: Menuet]<br />
|-<br />
| Badinerie || BWV 1067 || Fl, 2Vn, Va, Vc, Cb, Continuo || B Minor || 1738-1739 || [https://pdf.musedata.org/?id=bachjs-bwv1067-mvmt7&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201067 BWV 1067: Badinerie]<br />
|}<br />
<br />
====No. 3. BWV 1068====<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Movement name !! Catalogue no. !! Instruments !! Key !! Earliest copy !! Score<br />
|-<br />
| Ouverture || BWV 1068 || 3Tr, Timp, 2Ob, 2Vn, Va, Vc, Cb, Continuo || D Major || 1730 || [https://pdf.musedata.org/?id=bachjs-bwv1068-mvmt1&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201068 BWV 1068: Ouverture]<br />
|-<br />
| Air || BWV 1068 || 2Vn, Va, Bc || D Major || 1730 || [https://pdf.musedata.org/?id=bachjs-bwv1068-mvmt2&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201068 BWV 1068: Air]<br />
|-<br />
| Gavottes I, II || BWV 1068 || 3Tr, Timp, 2Ob, 2Vn, Va, Vc, Cb, Continuo || D Major || 1730 || [https://pdf.musedata.org/?id=bachjs-bwv1068-mvmt3&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201068 BWV 1068: Gavottes I, II]<br />
|-<br />
| Bourrée || BWV 1068 || 3Tr, Timp, 2Ob, 2Vn, Va, Vc, Cb, Continuo || D Major || 1730 || [https://pdf.musedata.org/?id=bachjs-bwv1068-mvmt4&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201068 BWV 1068: Bourrée]<br />
|-<br />
| Gigue || BWV 1068 || 3Tr, Timp, 2Ob, 2Vn, Va, Vc, Cb, Continuo || D Major || 1730 || [https://pdf.musedata.org/?id=bachjs-bwv1068-mvmt5&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201068 BWV 1068: Gigue]<br />
|}<br />
<br />
====No. 4. BWV 1069====<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Movement name !! Catalogue no. !! Instruments !! Key !! Earliest copy !! Score<br />
|-<br />
| Ouverture || BWV 1069 || 3Tr, Timp, 3Ob, Bn, 2Vn, Va, Vc, Cb, Continuo || D Major || 1730 || [https://pdf.musedata.org/?id=bachjs-bwv1069-mvmt1&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201069 BWV 1069: Ouverture]<br />
|-<br />
| Bourrées I, II || BWV 1069 || 3Tr, Timp, 3Ob, Bn, 2Vn, Va, Vc, Cb, Continuo || D Major || 1730 || [https://pdf.musedata.org/?id=bachjs-bwv1069-mvmt2&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201069 BWV 1069: Bourrées I, II]<br />
|-<br />
| Gavotte || BWV 1069 ||3Tr, Timp, 3Ob, Bn, 2Vn, Va, Vc, Cb, Continuo || D Major || 1730 || [https://pdf.musedata.org/?id=bachjs-bwv1069-mvmt3&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C BWV 1069: Gavotte]<br />
|-<br />
| Menuets I, II || BWV 1069 || 3Ob, Bn, 2Vn, Va, Vc, Cb, Continuo || D Major || 1730 || [https://pdf.musedata.org/?id=bachjs-bwv1069-mvmt4&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201069 BWV 1069: Menuets I, II]<br />
|-<br />
| Réjouissance || BWV 1069 || 3Tr, Timp, 3Ob, Bn, 2Vn, Va, Vc, Cb, Continuo || D Major || 1730 || Example<br />
|}<br />
<br />
==Works for Organ==<br />
<br />
===Preludes and Fugues for Organ (BWV 531-535)===<br />
These two-movement sets for organ, despite their outward resemblance to the Well-Tempered Clavier and the Inventions, share with the orchestral suites that they span quite a stretch of Bach's lifetime. They share the two-movement arrangement but were undoubtedly composed for varied circumstances. Despite the span of years they cover, these works are set apart by the brilliance of the preludes. As assembled, they begin on consecutive tones of a pentatonic cycle--C Major (<i>c</i>1703-<i>c</i>1707), D Major (1708-1712), E Minor (1703), F Minor (<i>c</i>1712-1717), and G Minor (post-1717). (N.B. <i>Subscripts in the table below distinguish preludes and fugues sharing a BWV number. They do not refer to other versions of the work.</i>)<br />
<br />
The first, third, and fifth of these pairs are thought to come from Bach's Arnstadt period (1703-1707), when he was serving as organist at the Neue Kirche. Some of Bach's best-known chorale settings are considered to come from this period. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Work Number !! Catalogue Number !! Genre/instrumentation !! Key !! Score<br />
|-<br />
| No. 1a || BWV 531a || Prelude/Organ || C Major || [https://pdf.musedata.org/?id=bachjs_bwv531-mvmt1&L1=(C)%201992%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Organ%20Preludes%20and%20Fugues&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20531a BWV 531a]<br />
|-<br />
| No. 1b || BWV 531b || Fugue/Organ || C Major || [https://pdf.musedata.org/?id=bachjs_bwv531-mvmt2&L1=(C)%201992%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Organ%20Preludes%20and%20Fugues&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20531b BWV 531b]<br />
|-<br />
| No. 2a || BWV 532a || Prelude/Organ || D Major || [https://pdf.musedata.org/?id=bachjs-bwv532&L1=(C)%201992%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Prelude%20and%20Fugue%20in%20D%20Major&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20532 BWV 532]<br />
|-<br />
| No. 2b || BWV 532b || Fugue/Organ || D Major || [https://pdf.musedata.org/?id=bachjs-bwv532&L1=(C)%201992%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Prelude%20and%20Fugue%20in%20D%20Major&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20532 BWV 532]<br />
|-<br />
| No. 3a || BWV 533a || Prelude/Organ || E Minor || [https://pdf.musedata.org/?id=bachjs-bwv533-mvmt1&L1=(C)%201992%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Organ%20Preludes%20and%20Fugues&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20533a BWV 533a]<br />
|-<br />
| No. 3b || BWV 533b || Fugue/Organ || E Minor || [https://pdf.musedata.org/?id=bachjs-bwv533-mvmt2&L1=(C)%201992%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Organ%20Preludes%20and%20Fugues&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20533b BWV 533b]<br />
|-<br />
| No. 4a || BWV 534a || Prelude/Organ || F Minor || [https://pdf.musedata.org/?id=bachjs-bwv534-mvmt1&L1=(C)%201992%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Organ%20Preludes%20and%20Fugues&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20534a BWV 534a]<br />
|-<br />
| No. 4b || BWV 534b || Fugue/Organ || F Minor || [https://pdf.musedata.org/?id=bachjs-bwv534-mvmt2&L1=(C)%201992%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Organ%20Preludes%20and%20Fugues&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20534b BWV 534b]<br />
|-<br />
| No. 5a || BWV 535a || Prelude/Organ || G Minor || [https://pdf.musedata.org/?id=bachjs-bwv535-mvmt1&L1=(C)%201992%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Organ%20Preludes%20and%20Fugues&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWv%20535a BWV 535a]<br />
|-<br />
| No. 5b || BWV 535b || Fugue/Organ || G Minor || [https://pdf.musedata.org/?id=bachjs-bwv535-mvmt2&L1=(C)%201992%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Organ%20Preludes%20and%20Fugues&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWv%20535b BWV 535b]<br />
|}<br />
<br />
===Preludes and Fugues for Organ (BWV 549-551)===<br />
<br />
In this group of three sets of organ preludes and fugues the first and third seem to come from near the start of Bach's tenure in Arnstadt. The middle set is slightly later (up to 1708) but is still likely to come from Bach's first professional position. Considering that they were composed when the composer was between 18 and 20 years of age, they show his enormous promise.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Work No. !! Catalogue No. !! Genre/Instrumentation !! Key !! Score<br />
|-<br />
| No. 1 || BWV 549 || Prelude & Fugue/Organ || C Minor || [https://pdf.musedata.org/?id=bachjs-bwv549&L1=(C)%201992%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Organ%20Preludes%20and%20Fugues&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20549 BWV 549]<br />
|-<br />
| No. 2 || BWV 550 || Prelude & Fugue/Organ || G Major || [https://pdf.musedata.org/?id=bachjs-bwv550&L1=(C)%201992%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Organ%20Preludes%20and%20Fugues&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20550 BWV 550]<br />
|-<br />
| No. 3 || BWV 551 || Prelude & Fugue/Organ || A Minor || [https://pdf.musedata.org/?id=bachjs-bwv551-mvmt1&L1=(C)%201992%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Organ%20Preludes%20and%20Fugues&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20551 BWV 551]<br />
|-<br />
|}<br />
<br />
===Miscellaneous Works for Organ===<br />
<br />
* Prelude in G Major ([https://pdf.musedata.org/?id=bachjs-bwv568&L1=(C)%202003,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Praeludium%20in%20G%20Major%20(BWV%20568)&R1=%P%20of%20%C&R2=Frances%20Bennion,%20ed.&R3=BWV%20568 BWV 568])<br />
<br />
Very little is known about the Prelude in G Major. <br />
<br />
* Prelude in A Minor (BWV 569)<br />
<br />
Similarly little-known, this work was composed before 1717.<br />
<br />
==Works for Harpsichord==<br />
<br />
=== The Well-Tempered Clavier ===<br />
<br />
Bach composed two books of 24 pairs of works in each key (major and minor) of the "well-tempered" keyboard. Each pair consists of a prelude and fugue. [https://www.britannica.com/art/equal-temperament Equal temperament], the practical virtue of which was the ability to play in any key without retuning the instrument, was emerging when Bach compiled the first book of the [https://en.wikipedia.org/wiki/The_Well-Tempered_Clavier <i>Well-Tempered Clavier</i>]. Equal temperament, in which each named tone is set equidistant (in cents) from adjacent keys, was not instantly adopted everywhere. Organs were generally tuned to [https://en.wikipedia.org/wiki/Meantone_temperament meantone temperament]. Much of the music of Asia employs [https://en.wikipedia.org/wiki/Just_intonation just intonation], which requires an instrument to be retuned for the next piece, unless it is in the same key as the preceding one. Bach demonstrated the use of equal temperament by compiling this cycle of short pieces. The preludes could show off the effect of equal temperament in scale passages, while the fugues' imitative processes required consonance in certain places to fulfill the work's satisfaction of the genre's requirements.<br />
<br />
===WTC: Book I (1722)===<br />
<br />
Book I of the Well-Tempered Clavier was published towards the end of Bach's tenure at the Cöthen court. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Work No. !! Catalogue No. !! Genre/instrument !! Key !! Score<br />
|-<br />
| No. 1a || BWV 846a || Prelude/keyboard || C Major || [https://pdf.musedata.org/?id=bachjs-bwv846a&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Prelude%20No.%201%20in%20C%20Major%20(BWV%20846a)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20846a BWV 846a]<br />
|-<br />
| No. 1b || BWV 846b || Fugue/keyboard || C Major || [https://pdf.musedata.org/?id=bachjs-bwv846b&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Fugue%20No.%201%20in%20C%20Major%20(BWV%20846b)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20846b BWV 846b]<br />
|-<br />
| No. 2a || BWV 847a || Prelude/keyboard || C Minor || [https://pdf.musedata.org/?id=bachjs-bwv847a&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Prelude%20No.%202%20in%20C%20Minor%20(BWV%20847a)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20847a BWV 847a] <br />
|-<br />
| No. 2b || BWV 847b || Fugue/keyboard || C Minor || [https://pdf.musedata.org/?id=bachjs-bwv847b&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Fugue%20No.%202%20in%20C%20Minor%20(BWV%20847b)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20847b BWV 847b]<br />
|-<br />
| No. 3a || BWV 848a || Prelude/keyboard || C# Major || [https://pdf.musedata.org/?id=bachjs-bwv848a&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Prelude%20No.%203%20in%20C#%20Major%20(BWV%20848a)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20848a BWV 848a]<br />
|-<br />
| No. 3b || BWV 848b || Fugue/keyboard || C# Major || [https://pdf.musedata.org/?id=bachjs-bwv848b&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Fugue%20No.%203%20in%20C#%20Major%20(BWV%20848b)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20848b BWV 848b]<br />
|-<br />
| No. 4a || BWV 849a || Prelude/keyboard || C# Minor || [https://pdf.musedata.org/?id=bachjs-bwv849a&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Prelude%20No.%204%20in%20C#%20Minor%20(BWV%20849a)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20849a BWV 849a]<br />
|-<br />
| No. 4b || BWV 849b || Fugue/keyboard || C# Minor || [https://pdf.musedata.org/?id=bachjs-bwv849b&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Fugue%20No.%204%20in%20C#%20Minor%20(BWV%20849b)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20849b BWV 849b]<br />
|-<br />
| No. 5a || BWV 850a || Prelude/keyboard || D Major || [https://pdf.musedata.org/?id=bachjs-bwv850a&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Prelude%20No.%205%20in%20D%20Major%20(BWV%20850a)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20850a BWV 850a]<br />
|-<br />
| No. 5b || BWV 850b || Fugue/keyboard || D Minor || [https://pdf.musedata.org/?id=bachjs-bwv850b&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Fugue%20No.%205%20in%20D%20Major%20(BWV%20850b)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20850b BWV 850b]<br />
|-<br />
| No. 6a || BWV 851a || Prelude/keyboard || D Minor || [https://pdf.musedata.org/?id=bachjs-bwv851a&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Prelude%20No.%206%20in%20D%20Minor%20(BWV%20851a)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20851a BWV 851a]<br />
|-<br />
| No. 6b || BWV 851b || Fugue/keyboard || D Minor || [https://pdf.musedata.org/?id=bachjs-bwv851b&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Fugue%20No.%206%20in%20D%20Minor%20(BWV%20851b)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20851b BWV 851b]<br />
|-<br />
| No. 7a || BWV 852a || Prelude/keyboard || Eb Major || [https://pdf.musedata.org/?id=bachjs-bwv852a&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Prelude%20No.%207%20in%20Eb%20Major%20(BWV%20852a)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20852a BWV 852a]<br />
|-<br />
| No. 7b || BWV 852b || Fugue/keyboard || Eb Major || [https://pdf.musedata.org/?id=bachjs-bwv852b&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Fugue%20No.%207%20in%20Eb%20Major%20(BWV%20852b)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20852b BWV 852b]<br />
|-<br />
| No. 8a || BWV 853a || Prelude/keyboard || Eb Minor || [https://pdf.musedata.org/?id=bachjs-bwv853a&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Prelude%20No.%208%20in%20Eb%20Minor%20(BWV%20853a)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20853a BWV 853a]<br />
|-<br />
| No. 8b || BWV 853b || Fugue/keyboard || D# Minor || [https://pdf.musedata.org/?id=bachjs-bwv853b&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Fugue%20No.%208%20in%20D#%20Minor%20(BWV%20853b)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20853b BWV 853b]<br />
|-<br />
| No. 9a || BWV 854a || Example || Example || Example<br />
|-<br />
| No. 9b || BWV 854b || Example || Example || Example<br />
|-<br />
| No. 10a || BWV 855a || Example || Example || Example<br />
|-<br />
| No. 10b || BWV 855b || Example || Example || Example<br />
|-<br />
| No. 11a || BWV 856a || Example || Example || Example<br />
|-<br />
| No. 11b || BWV 856b || Example || Example || Example<br />
|-<br />
| No. 12a || BWV 857a || Example || Example || Example<br />
|-<br />
| No. 12b || BWV 857b || Example || Example || Example<br />
|-<br />
| No. 13a || BWV 858a || Example || Example || Example<br />
|-<br />
| No. 13b || BWV 858b || Example || Example || Example<br />
|-<br />
| No. 14a || BWV 859a || Example || Example || Example<br />
|-<br />
| No. 14b || BWV 859b || Example || Example || Example<br />
|-<br />
| No. 15a || BWV 860a || Example || Example || Example<br />
|-<br />
| No. 15b || BWV 860b || Example || Example || Example<br />
|-<br />
| No. 16a || BWV 861a || Example || Example || Example<br />
|-<br />
| No. 16b || BWV 861b || Example || Example || Example<br />
|-<br />
| No. 17a || BWV 862a || Example || Example || Example<br />
|-<br />
| No. 17b || BWV 862b || Example || Example || Example<br />
|-<br />
| No. 18a || BWV 863a || Example || Example || Example<br />
|-<br />
| No. 18b || BWV 863b|| Example || Example || Example<br />
|-<br />
| No. 19a || BWV 864a || Example || Example || Example<br />
|-<br />
| No. 19b || BWV 864b || Example || Example || Example<br />
|-<br />
| No. 20a || BWV 865a || Example || Example || Example<br />
|-<br />
| No. 20b || BWV 865b || Example || Example || Example<br />
|-<br />
| No. 21a || BWV 866a || Example || Example || Example<br />
|-<br />
| No. 21b || BWV 866b || Example || Example || Example<br />
|-<br />
| No. 22a || BWV 867a || Example || Example || Example<br />
|-<br />
| No. 22b || BWV 867b || Example || Example || Example<br />
|-<br />
| No. 23a || BWV 868a || Example || Example || Example<br />
|-<br />
| No. 23b || BWV 868b || Example || Example || Example<br />
|-<br />
| No. 24a || BWV 869a || Example || Example || Example<br />
|-<br />
| No. 24b || BWV 869b || Example || Example || Example<br />
|}<br />
<br />
===WTC: Book II (1742)===<br />
<br />
=== Two-part Inventions ===<br />
<br />
[[File:JSB_Inv4.PNG|280px|thumb|right|J. S. Bach: Invention No. 4 [BWV 775] from the holograph manuscript, Mus.ms. Bach P 610, Berlin, Deutsche Staatsbibliothek.]]<br />
<br />
Bach's two-part inventions (BWV 772-786) constituted one set of several that J. S. Bach composed for his gifted son Wilhelm Friedemann Bach (1710-1784). The term invention is traced to the solo violin pieces Op. 10 (1713) by Francesco Antonio Bonporti (1672-1749), a Trentine composer. Bach uses the Latin title <i>Inventio</i>, reminding us of his command of the language, which he sometimes taught (in addition to teaching, composing, and performing music). Each three-voice work [see next section] was likewise called a <i>Sinfonia</i>.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Work No. !! Catalogue No. !! Genre / Instrument !! Key !! Score<br />
|-<br />
| No. 1 || BWV 772 || Invention / harpsichord || C Major|| [https://pdf.musedata.org/?id=bachjs-bwv772 BWV 772]<br />
|-<br />
| No. 1a || BWV 772a || Invention / harpsichord || C Major || <br />
|-<br />
| No. 2 || BWV 773 || Invention / harpsichord || C Minor || [https://pdf.musedata.org/?id=bachjs-bwv773&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=wiki.ccarh.org&L3=Bach,%20J.S.:%20Invention%20No.%202%20in%20C%20minor&R1=%P=2%20of%2015&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20773 BWV 773]<br />
|-<br />
| No. 3 || BWV 774 || Invention / harpsichord || D Major || [https://pdf.musedata.org/?id=bachjs-bwv774&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=wiki.ccarh.org&L3=Bach,%20J.S.:%20Invention%20No.%203%20in%20D%20major&R1=%P=3%20of%2015&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20774 BWV 774]<br />
|-<br />
| No. 4 || BWV 775 || Invention / harpsichord || D Minor || [https://pdf.musedata.org/?id=bachjs-bwv775&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=wiki.ccarh.org&L3=Bach,%20J.S.:%20Invention%20No.%204%20in%20D%20minor&R1=%P=4%20of%2015&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20775 BWV 775]<br />
|-<br />
| No. 5 || BWV 776 || Invention / harpsichord || E{{music|flat}} Major || [https://pdf.musedata.org/?id=bachjs-bwv776&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=wiki.ccarh.org&L3=Bach,%20J.S.:%20Invention%20No.%205%20in%20E-flat%20major&R1=%P=5%20of%2015&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20776 BWV 776]<br />
|-<br />
| No. 6 || BWV 777 || Invention / harpsichord || E Major || [https://pdf.musedata.org/?id=bachjs-bwv777&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=wiki.ccarh.org&L3=Bach,%20J.S.:%20Invention%20No.%206%20in%20E%20major&R1=%P=6%20of%2015&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20777 BWV 777]<br />
|-<br />
| No. 7 || BWV 778 || Invention / harpsichord || E Minor || [https://pdf.musedata.org/?id=bachjs-bwv778&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=wiki.ccarh.org&L3=Bach,%20J.S.:%20Invention%20No.%207%20in%20E%20minor&R1=%P=7%20of%2015&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20778 BWV 778]<br />
|-<br />
| No. 8 || BWV 779 || Invention / harpsichord || F Major || [https://pdf.musedata.org/?id=bachjs-bwv779&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=wiki.ccarh.org&L3=Bach,%20J.S.:%20Invention%20No.%208%20in%20F%20major&R1=%P=8%20of%2015&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20779 BWV 779]<br />
|-<br />
| No. 9 || BWV 780 || Invention / harpsichord || F Minor || [https://pdf.musedata.org/?id=bachjs-bwv780&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=wiki.ccarh.org&L3=Bach,%20J.S.:%20Invention%20No.%209%20in%20F%20minor&R1=%P=9%20of%2015&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20780 BWV 780]<br />
|-<br />
| No. 10 || BWV 781 || Invention / harpsichord || G Major || [https://pdf.musedata.org/?id=bachjs-bwv781&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=wiki.ccarh.org&L3=Bach,%20J.S.:%20Invention%20No.%2010%20n%20G%20major&R1=%P=10%20of%2015&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20781 BWV 781]<br />
|-<br />
| No. 11 || BWV 782 || Invention / harpsichord || G Minor || [https://pdf.musedata.org/?id=bachjs-bwv782&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=wiki.ccarh.org&L3=Bach,%20J.S.:%20Invention%20No.%2011%20in%20G%20minor&R1=%P=11%20of%2015&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20782 BWV 782]<br />
|-<br />
| No. 12 || BWV 783 || Invention / harpsichord || A Major || [https://pdf.musedata.org/?id=bachjs-bwv783&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=wiki.ccarh.org&L3=Bach,%20J.S.:%20Invention%20No.%2012%20in%20A%20major&R1=%P=12%20of%2015&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20783 BWV 783]<br />
|-<br />
| No. 13 || BWV 784 || Invention / harpsichord || A Minor || [https://pdf.musedata.org/?id=bachjs-bwv784&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=wiki.ccarh.org&L3=Bach,%20J.S.:%20Invention%20No.%2013%20in%20A%20minor&R1=%P=13%20of%2015&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20784 BWV 784]<br />
|-<br />
| No. 14 || BWV 785 || Invention / harpsichord || Bb Major || [https://pdf.musedata.org/?id=bachjs-bwv785&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=wiki.ccarh.org&L3=Bach,%20J.S.:%20Invention%20No.%2014%20in%20B-flat%20major&R1=%P=14%20of%2015&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20785 BWV 785]<br />
|-<br />
| No. 15 || BWV 786 || Invention / harpsichord || B Minor || [https://pdf.musedata.org/?id=bachjs-bwv786&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=wiki.ccarh.org&L3=Bach,%20J.S.:%20Invention%20No.%2015%20in%20B%20minor&R1=%P=15%20of%2015&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20786 BWV 786] <br />
|}<br />
<br />
The harmonic cycle that Bach has constructed in the collection as a whole foreshadows the tonally more complete cycles of the two sets of paired preludes and fugues called the Well-Tempered Clavier. They appeared in 1722 and 1744. It was not enough for young Friedemann to be able to play the pieces. He was being called to understand the cyclic possibilities that inhered in tonal relationships. This was a dominant focus in music theory of the time. Johann David Heinichen's [https://en.wikipedia.org/wiki/Circle_of_fifths Circle of Fifths] was first formalized in 1711 and has remained the dominant scheme for rationalizing harmonic relations in Western music theory.<br />
<br />
===Three-part Inventions (<i>Sinfonie</i>)===<br />
The three-part inventions, or <i>sinfonie</i>, follow the same cyclical organization in the aggregate. It has been suggested that the intended relationship between the inventions and sinfonias was to be performed in pairs, like the prelude-fugue sets of the Well-Tempered Clavier. Given their shared cycle of keys, Invention No. 1 might be followed by Sinfonia No. 1 and so forth.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Work No. !! Catalogue No. !! Genre / Instrument !! Key !! Score<br />
|-<br />
| No. 1 || BWV 787 || Sinfonia / harpsichord || C Major|| [https://pdf.musedata.org/?id=bachjs-bwv787&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=Steven%20Rasmussen,%20ed.&L3=Bach,%20J.S.:%20Sinfonia%20No.%201&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20787 BWV 787]<br />
|-<br />
| No. 2 || BWV 788 || Sinfonia / harpsichord || C Minor || [https://pdf.musedata.org/?id=bachjs-bwv788&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=Steven%20Rasmussen,%20ed.&L3=Bach,%20J.S.:%20Sinfonia%20No.%202&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20788 BWV 788]<br />
|-<br />
| No. 3 || BWV 789 || Sinfonia / harpsichord || D Major || [https://pdf.musedata.org/?id=bachjs-bwv789&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=Steven%20Rasmussen,%20ed.&L3=Bach,%20J.S.:%20Sinfonia%20No.%203&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20789 BWV 789]<br />
|-<br />
| No. 4 || BWV 790 || Sinfonia / harpsichord || D Minor || [https://pdf.musedata.org/?id=bachjs-bwv790&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=Steven%20Rasmussen,%20ed.&L3=Bach,%20J.S.:%20Sinfonia%20No.%204&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20790 BWV 790]<br />
|-<br />
| No. 5 || BWV 791 || Sinfonia / harpsichord || E{{music|flat}} Major || [https://pdf.musedata.org/?id=bachjs-bwv791&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=Steven%20Rasmussen,%20ed.&L3=Bach,%20J.S.:%20Sinfonia%20No.%205&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20791 BWV 791]<br />
|-<br />
| No. 6 || BWV 792 || Sinfonia / harpsichord || E Major || [https://pdf.musedata.org/?id=bachjs-bwv792&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=Steven%20Rasmussen,%20ed.&L3=Bach,%20J.S.:%20Sinfonia%20No.%206&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20792 BWV 792]<br />
|-<br />
| No. 7 || BWV 793 || Sinfonia / harpsichord || E Minor || [https://pdf.musedata.org/?id=bachjs-bwv793&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=Steven%20Rasmussen,%20ed.&L3=Bach,%20J.S.:%20Sinfonia%20No.%207&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20793 BWV 793]<br />
|-<br />
| No. 8 || BWV 794 || Sinfonia / harpsichord || F Major || [https://pdf.musedata.org/?id=bachjs-bwv794&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=Steven%20Rasmussen,%20ed.&L3=Bach,%20J.S.:%20Sinfonia%20No.%208&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20794 BWV 794]<br />
|-<br />
| No. 9 || BWV 795 || Sinfonia / harpsichord || F Minor || <br />
|-<br />
| No. 10 || BWV 796 || Sinfonia / harpsichord || G Major || <br />
|-<br />
| No. 11 || BWV 797 || Sinfonia / harpsichord || G Minor || [https://pdf.musedata.org/?id=bachjs-bwv797&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=Steven%20Rasmussen,%20ed.&L3=Bach,%20J.S.:%20Sinfonia%20No.%2011&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20797 BWV 797]<br />
|-<br />
| No. 12 || BWV 798 || Sinfonia / harpsichord || A Major || <br />
|-<br />
| No. 13 || BWV 799 || Sinfonia / harpsichord || A Minor || <br />
|-<br />
| No. 14 || BWV 800 || Sinfonia / harpsichord || Bb Major || [https://pdf.musedata.org/?id=bachjs-bwv800&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=Steven%20Rasmussen,%20ed.&L3=Bach,%20J.S.:%20Sinfonia%20No.%2014&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20800 BWV 800]<br />
|-<br />
| No. 15 || BWV 801 || Sinfonia / harpsichord || B Minor || <br />
|}</div>Edchttps://wiki.ccarh.org/index.php?title=MuseData:_Johann_Sebastian_Bach&diff=10522MuseData: Johann Sebastian Bach2021-04-06T18:55:17Z<p>Edc: /* 1. Mass in B-Minor (BWV 232): Kyrie and Gloria) */</p>
<hr />
<div><br />
==Sacred Vocal Works==<br />
<br />
=== Cantatas ===<br />
<br />
Bach's sacred cantatas are among his most treasured and ample groups of pieces. They come predominately from his first years in Leipzig (1723-1750). The main movement types are arias, duos, and choruses, interleaved with recitatives. Instrumentation varies according to the text: Bach lived in a time of many conventions associating specific instruments with attitudes and emotions such as grief and joy but also triumph, sorrow, contrition, and so forth. <br />
<br />
====Cantatas Nos. 1-10 (BWV 1-10)====<br />
<br />
{| class="wikitable sortable"<br />
|-!! <br />
! Item No. !! Title !! Catalogue No. !! Voices !! Instruments !! Key !! Score <br />
|-<br />
| No. 1 || Wie schön leuchtet der Morgenstern || BWV 1 || SATB || 2Hn, 2ObdC; 2VnPr, 2Vn, Va, Bc || G Major || [https://pdf.musedata.org/?id=bachjs-bwv0001&L1=(C)%201990,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Cantata%20No.%201:%20Wie%20sch%C3%B6n%20leuchtet%20der%20Morgenstern%20(BWV%201)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Walter%20B.%20Hewlett,%20eds.&R3=BWV%201 BWV 1] <br />
|-<br />
| No. 2 || Ach Gott, von Himmel sieh darein || BWV 2 || SATB || 4Trb, 2Ob; 2Vn, Va, Bc || F Major || [https://pdf.musedata.org/?id=bachjs-bwv0002alt&L1=(C)%201991,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Cantata%20No.%202:%20Ach%20Gott,%20von%20Himmel%20sieh%20darein%20(BWV%202)%20(alt)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Walter%20B.%20Hewlett,%20eds.&R3=BWV%202alt BWV 2]<br />
|-<br />
| No. 3 || Ach Gott, wie manches Herzeleid || BWV 3 || SATB || 2ObdA; 2Vn, Va, Bc || A Major || [https://pdf.musedata.org/?id=bachjs-bwv0003alt&L1=(C)%201991,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Cantata%20No.%203:%20Ach%20Gott,%20wie%20manches%20Herzeleid%20(BWV%203)%20(alt)&R1=%P%20of%20%C&R2=Steven%20C. BWV 3]<br />
|-<br />
| No. 4 || Christ lag in Todesbanden || BWV 4 || SATB || Crn, 3Trb; 2Vn, 2Va, Bc || E Minor || [https://pdf.musedata.org/?id=bachjs-bwv0004alt&L1=(C)%201991,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Cantata%20No.%204:%20Christ%20lag%20in%20Todesbanden%20(BWV%204)%20(alt)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Walter%20B.%20Hewlett,%20eds.&R3=BEV%204alt BWV 4]<br />
|-<br />
| No. 5 || Wo soll ich fliehen hin || BWV 5 || SATB || 2Ob, Sl Tr; 2Vn, Va, Bc || G Minor || [https://pdf.musedata.org/?id=bachjs-bwv0005&L1=(C)%201991,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Cantata%20No.%205:%20Wo%20soll%20ich%20fliehen%20hin%20(BWV%205)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Walter%20B.%20Hewlett,%20eds.&R3=BWV%205 BWV 5]<br />
|-<br />
| No. 6 || Bleib bei uns, denn es will Abend werden || BWV 6 || Example || Example || Example || Example<br />
|-<br />
| No. 7 || Christ unser Herr zum Jordan kamm || BWV 7 || Example || Example || Example || Example<br />
|-<br />
| No. 8 || Liebster Gott, wenn werd ich sterben || BWV 8 || Example || Example || Example || Example<br />
|-<br />
| No. 9 || Es ist das Heil uns kommen her || BWV 9 || Example || Example || Example || Example<br />
|-<br />
| No 10 || Meine Seel erhebt den Herren || BWV 10 || Example || Example || Example || Example<br />
|}<br />
<br />
====Cantatas Nos. 11-50 (BWV 11-50)====<br />
<br />
If there is a baseline for measuring Bach's progress as a composer of cantatas, the cantata BWV 23 is it. On 7 February 1723 Bach used it for his audition for the position of cantor at the Thomas Kirche in Leipzig. It opens with an Adagio for soprano and contralto and concludes with a robust chorus of substantial proportions. <br />
<br />
{| class="wikitable"<br />
|-<br />
! Item No. !! Title !! Catalogue No. !! Voices !! Instruments !! Key !! Score <br />
|-<br />
| Example || Example || Example || Example || Example || Example || <br />
|-<br />
| No. 23 || Du wahrer Gott und Davids Sohn || BWV 23 || SATB || 2Ob; 2Vn, Va, Bc || C Minor || [https://pdf.musedata.org/?id=bachjs-bwv0023&L1=(C)%201996,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Cantata%20No.%2023:%20Du%20wahrer%20Gott%20und%20Davids%20Sohn&R1=%P%20of%20%C&R2=Walter%20B.%20Hewlett,%20,%20eds.&R3=BWV%2023 BWV 23]<br />
|-<br />
| Example || Example || Example || Example || Example || Example ||<br />
|-<br />
| No. 42 || Am Abend aber desselbigen Sabbats || BWV 42 || SATB || 2Ob, Fg; 2Vn, Va, Org, Bc || F# Minor || [https://pdf.musedata.org/?id=bachjs-bwv0042&L1=(C)%201994,%202002%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Cantata%20No.%2042:%20Am%20Abend%20aber%20desselbigen%20Sabbats&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20,%20eds.&R3=BWV%2042 BWV 42]<br />
|-<br />
| No. 43 || Gott fähret auf mit Jauchzen || BWV 43 || SATB || 3Tr, Timp, 2Ob; 2Vn, Va, Bc || G Major || [https://pdf.musedata.org/?id=bachjs-bwv0043&L1=(C)%201994,%202002%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Cantata%20No%2043:%20Gott%20f%C3%A4hret%20auf%20mit%20Jauchzen&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20,%20eds.&R3=BWV%2043 BWV 43]<br />
|-<br />
| No. 44 || Sie werden euch in den Bann tun || BWV 44 || SATB || 2Ob, Fg; 2Vn, Va, Bc || Bb Major || [https://pdf.musedata.org/?id=bachjs-bwv0044&L1=(C)%201994,%202002%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Cantata%20No.%2044:%20Sie%20werden%20euch%20in%20den%20Bann%20tun&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20,%20eds.&R3=BWV%2044 BWV 44]<br />
|-<br />
|No. 45 || Es ist dir gesagt, Mensch, was gut ist || BWV 45 || SATB || 2Fl, 2Ob; 2Vn, Va, Bc || E Major || [https://pdf.musedata.org/?id=bachjs-bwv0045&L1=(C)%201994,%202002%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Cantata%20No.%2045:%20Es%20ist%20dir%20gesagt,%20Mensch,%20was%20gut%20ist&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20,%20eds.&R3=BWV%2045 BWV 45]<br />
|-<br />
|No. 46 || Schauet doch und sehet, ob irgend ein Schmerz sei || BWV 46 || SATB || 2Fl, Tr, 2ObdC; 2Vn, Va, Bc || D Minor || [https://pdf.musedata.org/?id=bachjs-bwv0046&L1=(C)%201994,%202002%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Cantata%20No.%2046:%20Schauet%20doch%20und%20sehet,%20ob%20irgend%20ein%20Schmerz%20sei&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20,%20eds.&R3=BWV%2046 BWV 46]<br />
|-<br />
| No. 47 || Wer sich selbst erhöhet, der soll erniedriget werden || BWV 47 || SATB || 2Ob; 2Vn, Va, Bc || G Minor || [https://pdf.musedata.org/?id=bachjs-bwv0047&L1=(C)%201994,%202002%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Cantata%20No.%2047:%20Wer%20sich%20selbst%20erhoehet,%20der%20soll%20erniedriget%20werden&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20,%20eds.&R3=BWV%2047 BWV 47]<br />
|-<br />
| No. 48 || Ich elender Mensch, wer wird mich erlösen || BWV 48 || SATB || Tr, 2Ob; 2Vn, Va, Bc || G Minor || [https://pdf.musedata.org/?id=bachjs-bwv0047&L1=(C)%201994,%202002%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Cantata%20No.%2047:%20Wer%20sich%20selbst%20erhoehet,%20der%20soll%20erniedriget%20werden&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20,%20eds.&R3=BWV%2047 BWV 48] <br />
|-<br />
| No. 49 || Ich geh und suche mit Verlangen || BWV 49 || SATB || ObdA; 2Vn, Va, Org, Bc || E Major || [https://pdf.musedata.org/?id=bachjs-bwv0049&L1=(C)%201994,%202002%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Cantata%20No%2049:%20Ich%20geh%20und%20suche%20mit%20Verlangen&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20Jr.,%20eds.&R3=BWV%2049 BWV 49]<br />
|-<br />
|}<br />
<br />
====Performing editions of Bach cantatas by Craig Smith (Emmanuel Music)====<br />
<br />
[https://en.wikipedia.org/wiki/Craig_Smith_(conductor) Craig Smith] (1947-2007), the founder of the ensemble [https://en.wikipedia.org/wiki/Emmanuel_Music Emmanuel Music] in Boston, was perhaps the most devoted conductor of the genre active in the U.S. The editions appearing in the table below reflect his ideas about how the pieces should be performed. These editions were made by CCARH in cooperation with the conductor.<br />
<br />
{| class="wikitable"<br />
|-<br />
! Catalogue No. !! Title !! Voices !! Instruments !! Score !! Choral score !! Parts<br />
|-<br />
| BWV 135 || Ach Herr, mich armen Sünder || SATB || Example || || ||<br />
|-<br />
| BWV 136 || Example || SATB || Example || || ||<br />
|-<br />
| Example || Example || Example || Example || || ||<br />
|-<br />
| Example || Example || Example || Example || || ||<br />
|-<br />
| Example || Example || Example || Example || || ||<br />
|-<br />
|}<br />
<br />
===Motets===<br />
<br />
Bach's six motets are well known to choirs and choral groups. Each one was composed and performed for a funeral or memorial service. Each reflects on the personal relationship between the recently deceased and God by proclaiming joy at the imminent reunion with Him in Heaven. Nos. 4 and 6 are thought to have been composed during Bach's Weimar period (1708-1717), the remainder subsequently. These were composed between 1723 and 1732, during Bach's long tenure in Leipzig. Opinions vary on the question of whether two additions motets ("Ich lasse dich nicht," BWV Anh. 159, and "Jauchzet dem Herrn, alle Welt," BWV 160) are partly by Bach or entirely by other members of his family. Although some motets were composed for funeral services, others may have been performed at festive celebrations. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Work No. !! Title !! Catalogue No. !! Voices !! Score<br />
|-<br />
| No. 1 || Singet dem Herrn ein neues Lied || BWV 225 || SATB, SATB || [https://pdf.musedata.org/?id=bachjs-bwv0225&L1=(C)%201990,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Six%20Motets&R1=%P%20of%20%C&R2=Edmund%20Correia,%20Jr.&R3=BWV%20225 BWV 225]<br />
|-<br />
| No. 2 || Der Geist hilft unser Schwachheit auf || BWV 226 || SATB, SATB || [https://pdf.musedata.org/?id=bachjs-bwv0226&L1=(C)%201990,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Six%20Motets&R1=%P%20of%20%C&R2=Edmund%20Correia,%20Jr.&R3=BWV%20226 BWV 226]<br />
|-<br />
| No. 3 || Jesu, meine Freude || BWV 227 || SSATB || [https://pdf.musedata.org/?id=bachjs-bwv0227&L1=(C)%201990,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Motet%20No.%203:%20Jesu,%20meine%20Freude%20(BWV%20227)&R1=%P%20of%20%C&R2=Edmund%20Correia,%20Jr.&R3=BWV%20227 BWV 227]<br />
|-<br />
| No. 4 || Fürchte dich nicht, ich bin bei dir || BWV 228 || SATB, SATB, insts. || [https://pdf.musedata.org/?id=bachjs-bwv0228&L1=(C)%201990,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Six%20Motets&R1=%P%20of%20%C&R2=Edmund%20Correia,%20Jr.&R3=BWV%20228 BWV 228]<br />
|-<br />
| No. 5 || Komm, Jesu, komm || BWV 229 || SATB || [https://pdf.musedata.org/?id=bachjs-bwv0229-mvmt1&L1=(C)%201990,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Six%20Motets&R1=%P%20of%20%C&R2=Edmund%20Correia,%20Jr.&R3=BWV%20229 BWV 229]<br />
|-<br />
| No. 6 || Lobet den Herrn, alle Heiden || BWV 230 || SATB, Bc || [https://pdf.musedata.org/?id=bachjs-bwv0230&L1=(C)%201990,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Six%20Motets&R1=%P%20of%20%C&R2=Edmund%20Correia,%20Jr.&R3=BWV%20230 BWV 230]<br />
|}<br />
<br />
=== Masses ===<br />
<br />
==== The B-Minor Mass (BWV 232) ====<br />
Bach's B-Minor Mass was assembled in bits and pieces. Like the building of a great cathedral, its overall structure and content may not have been appreciated by those who perceived only a few gargoyles or saw one stained-glass window. In its entirety it was a colossus of its own kind. It was difficult to comprehend. It required a long acquaintance to absorb its dimensions, angles, and superstructures.<br />
<br />
=====Historical and cultural background=====<br />
Bach presented his first setting of the Kyrie and Gloria to Friedrich August II, Elector of Saxony, soon after his ascension in 1733. The Saxon court had converted to Catholicism in 1697, partly to facilitate an eventual link to the Polish throne, and the new duke also served as Augustus III of Poland. With his Thuringian origins, Bach served Leipzig's Thomas-Schule (from 1723 until his death in 1750) with the strict devotion characteristic of Lutheranism of the time. Bach was born under the shadow of the Wartburg, where Martin Luther translated the Greek New Testament into the German vernacular.<br />
<br />
Elsewhere at the time the idea of a devout Protestant composing an elaborate Catholic mass would have presented many conflicts of ideology and interpretation, but Bach transcended those conflicts by allowing art to guide him through the process. Bach expanded the Credo and completed the remaining sections of the mass in 1748 and 1749. In its fullest form the B-Minor Mass became a resume of the composer's earlier activities, as it threaded elements of cantatas from his Weimar period into the fabric. Bach never felt his compositions were "perfect enough," and in recycling their remnants he also sought to improve them. In the end, the B-Minor Mass stands as an epitome of Bach's musical career. In some accounts Bach's goals went further still by embedding elements of the <i>stile antico</i> and Renaissance polyphony into his <i>magnum opus</i>.<br />
<br />
=====Liturgical structure and musical specifications=====<br />
<br />
Musically, the B-Minor Mass relies heavily on choral numbers, predominately for five voices (SSATB). (A point of controversy in recent years has been the question of whether these parts were sung exclusively, in Bach's presence, by soloists, by a chorus, or by a combination of the two.) Familiar and uncommon instruments are arrayed as appropriate. Overall, the timbre varies from one piece to the next. The elements of an ordinary mass are all present, but Bach has grouped them in his own way. What he calls the Missa (Mass) consists of the Kyrie and the Gloria. In keeping with the practice of other composers of his time, Bach makes each line of text the subject of a separate movement. Departing from tradition, he calls the Credo section (with its many separate pieces) the Symbolum Nicenum (in parallel with the English term Nicene Creed). The Sanctus constitutes the third section. The fourth section consists of the Hosannah, Benedictus, Agnus Dei, and the benediction, Dona nobis pacem. We divide the score below into Bach's four-sectional format.<br />
<br />
======<b>1. Mass in B-Minor (BWV 232): Kyrie and Gloria)</b>======<br />
{| class="wikitable"<br />
|-<br />
! Item number !! Title/text(s) !! Voices !! Instruments !! Key !! Notes !! Score !!<br />
|-<br />
| No. 1 || Kyrie eleison I || SSATB || 2Fl, 2ObdA, Bn; 2Vn, Va, Bc || B Minor || Example || [https://pdf.musedata.org/?id=bachjs-bwv232-kyrie1&L1=(C)%201990,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Masses&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20Edmund%20Correia,%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Missa--Kyrie eleison I]<br />
|-<br />
| No. 2 || Christe eleison || SS || 2Vn, Bc || D Major || Example || [https://pdf.musedata.org/?id=bachjs-bwv232-Christe&L1=(C)%201990,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Masses&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20Edmund%20Correia,%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Missa--Christe eleison]<br />
|-<br />
| No. 3 || Kyrie eleison 2 || SATB || 2Fl, 2ObdA, Bn; 2Vn, Va, Bc || F# Minor || Example || [https://pdf.musedata.org/?id=bach-bwv2232-Kyrie2&L1=(C)%201990,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Masses&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20Edmund%20Correia,%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Missa--Kyrie eleison II]<br />
|-<br />
| No. 4 || Gloria; Et in terra pax || SSATB || 3Tr, Timp; 2Fl, 2Ob, Bn; 2Vn, Va, Bc || D Major || Example || [https://pdf.musedata.org/?id=bach-bwv232-Gloria&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Gloria]<br />
|-<br />
| No. 5 || Laudamus te || S2 || Example || A Major || Example || [https://pdf.musedata.org/?id=bach-bwv232-Laudamus_te&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Laudamus te]<br />
|-<br />
| No. 6 || Gratias agimus tibi || SATB || 3Tr, Timp; 2Fl, 2Ob, Bn; 2Vn, Va, Bc || D Major || Example || [https://pdf.musedata.org/?id=bach-bwv232-Gratias_agimus&L1=(C)%201990,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Masses&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20Edmund%20Correia,%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Gratias agimus]<br />
|-<br />
| No. 7a || Domine Deus || ST || Fl; 2Vn, Va, Bc || G Major || Example || [https://pdf.musedata.org/?id=bach_bwv232-Domine_Deus&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Setven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Domine Deus]<br />
|-<br />
| No. 7b || Qui tollis peccata mundi || SATB || 2Fl; 2Vn, Va, Bc || F# Minor || Example || [https://pdf.musedata.org/?id=bach-bwv232-Qui_tollis&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Qui tollis peccata mundi ]<br />
|-<br />
| No. 8 || Qui sedes || A || ObdA; 2V, Va, Bc || B Minor || Example || [https://pdf.musedata.org/?id=bach-bwv232-Qui_sedes&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Qui sedes]<br />
|-<br />
| No. 9a || Quoniam tu solus sanctus || B || Hn, 2Bn, Bc || D Major || Example || [https://pdf.musedata.org/?id=bach-bwv232-Quoniam_tu_solus&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Quoniam tu solus sanctus]<br />
|-<br />
| No. 9b || Cum sancto spiritu || SSATB || 3Tr, Timp; 2Fl, 2Ob, Bn; 2Vn, Va, Bc || D Major || || [https://pdf.musedata.org/?id=bach-bwv232-Cum_sancto_spiritu&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Cum sancto spiritu]<br />
|}<br />
<br />
======<b>2. Mass in B-Minor (BWV 232): Credo (Symbolum Nicenum)</b>======<br />
<br />
{| class="wikitable"<br />
|-<br />
! Item number !! Title/text !! Voices !! Instruments !! Key !! Notes !! Score<br />
|-<br />
| No. 10 || Credo in unum Deum || SSATB || 2Vn, Bc || A Minor || Example || [https://pdf.musedata.org/?id=bach-bwv232-Credo_in_unum_DeumL1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Credo in unum Deum]<br />
|-<br />
| No. 11 || Patrem omnipotentem || SATB || 3Tr, Timp; 2Ob, 2Vn, Va, Bc || D Major || Example || [https://pdf.musedata.org/?id=bach-bwv232-Patrem_onipotentem&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Patrem omnipotentem]<br />
|-<br />
| No. 12 || Et in unum Dominum || SA || 2Vn, Bc || G Major || Example || [https://pdf.musedata.org/?id=bach-bwv232-Et_in_unum_Dominum&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Et in unum Dominum]<br />
|-<br />
| No. 13 || Et incarnatus est || SSATB || 2ObdA, 2Vn, Va, Bc || B Minor || Example || [https://pdf.musedata.org/?id=bach-bwv232-Et_incarnatus_est&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Et incarnatus est]<br />
|-<br />
| No. 14 || Crucifixus || SATB || 2Fl, 2Vn, Va, Bc || E Minor || Example || [https://pdf.musedata.org/?id=bach-bwv232-Crucifixus&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Crucifixus]<br />
|-<br />
| No. 15 || Et resurrexit || SSATB || 3Tr, Timp; 2Fl, 2Ob, 2Vn, Va, Bc || D Major || Example || [https://pdf.musedata.org/?id=bach-bwv232-Et_resurrexit&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Et resurrexit]<br />
|-<br />
| No. 16 || Et in Spiritum Sanctum || B || 2ObdA || A Major || Example || Example<br />
|-<br />
| No. 17 || Confiteor || SSATB || Example || F# Minor || Example || Example<br />
|-<br />
| No. 18 || Et expecto || SSATB || 3Tr, Timp; 2Fl, 2Ob, 2Vn, Va, Bc || D Major || Example || [https://pdf.musedata.org/?id=bach-bwv232-Confiteor-b&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Et expecto]<br />
|}<br />
<br />
======<b>3. Mass in B-Minor (BWV 232): Sanctus</b>======<br />
<br />
{| class="wikitable"<br />
|-<br />
! No. !! Title !! Voices !! Instruments !! Key !! Notes !! Score<br />
|-<br />
| No. 19 || Sanctus || SSATB || 3Tr, Timp; 3Ob, 2Vn, Va, Bc || D Major || Example || [https://pdf.musedata.org/?id=bach-bwv232-Sanctus&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Sanctus]<br />
|}<br />
<br />
======<b>4. Mass in B-Minor (BWV 232): Osanna, Benedictus; Agnus Dei, Dona nobis pacem</b>======<br />
<br />
{| class="wikitable"<br />
|-<br />
! Item number !! Title/text !! Voices !! Instruments !! Key !! Notes !! Score<br />
|-<br />
| No. 20 (22) || Osanna || SATB, SATB || 3Tr, Timp; 2Fl, 2Ob, 2Vn, Va, Bc || D Major || Example || [https://pdf.musedata.org/?id=bach-bwv232-Osanna1&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Osannna]<br />
|-<br />
| No. 21 || Benedictus || T || Vn, Bc || B Minor || Example || [https://pdf.musedata.org/?id=bach-bwv232-Benedictus&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Benedictus]<br />
|-<br />
| No. 23 || Agnus Dei || A || 2Vn, Bc || G Minor || Example || [https://pdf.musedata.org/?id=bach-bwv232-Agnus_Dei&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Agnus Dei]<br />
|-<br />
| No. 24 || Dona nobis pacem || SATB || 3Tr, Timp; 2Fl, 2Ob, 2Vn, Va, Bc || D Major || Example || [https://pdf.musedata.org/?id=bach-bwv232-Dona_nobis_pacem&L1=(C)%201994,%202010%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20B-Minor%20Mass%20(BWV%20232)&R1=%P%20of%20%C&R2=Steven%20C.%20Rasmussen,%20Edmund%20Correia,%20%20Jr.,%20eds.&R3=BWV%20232 BWV 232: Dona nobis pacem]<br />
<br />
|}<br />
<br />
==Orchestral Works==<br />
<br />
=== Brandenburg Concertos ===<br />
<br />
Bach's six Brandenburg Concertos are demonstrations par excellence of both virtuosity and interplay between most of instruments available in Bach's time in Thuringia, where Bach was raised and held all his posts prior to moving to Leipzig in 1723. He composed them while living in Cöthen, which offered few of the resources required here but may have prompted Bach to show how many different combinations of sounds could be found in the broader palette of sonorities in use within a day's travel from the court. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Work No. !! Catalogue No. !! Genre / Instruments [[Instrument abbreviations | ? ]] !! Key !! Score (PDF) !! Concordances<br />
|-<br />
| No. 1 || BWV 1046 || Concerto / 2Hn, Ob, Bn; VPiccolo, 2Vn, Va, Vc, Vne Gr, Cem || F Major || || BWV 1046/3 = BWV 207a/1. BWV 1046/7 = BWV 207a/5a. <br />
|-<br />
| No. 1a || BWV 1046a || Concerto / 2Hn, 3Ob, Bn; 2Vn, Va, Vc, Cem || F Major || [http://esf.ccarh.org/MuseData-Bach-PDFs/01-bwv1046a.pdf BWV 1046a] || BWV 1046a/1 = BWV 52/1<br />
|-<br />
| No. 2 || BWV 1047 || Concerto / Tr, Rec, Ob, VnPr; 2Vn, Va, Vc, Vne, Cem || F Major || [http://esf.ccarh.org/MuseData-Bach-PDFs/01-bwv1047.pdf BWV 1047] || <br />
|-<br />
| No. 3 || BWV 1048 || Concerto / 3Vn, 3Va, 3Vc, Vne, Cem || G Major || [http://esf.ccarh.org/MuseData-Bach-PDFs/01-bwv1048.pdf BWV 1048] || BWV 1048/1 = BWV 174/1<br />
|-<br />
| No. 4 || BWV 1049 || Concerto / VnPr, Rec; 2Vn, Va, Vc, Vne, Cem || G Major || [http://esf.ccarh.org/MuseData-Bach-PDFs/01-bwv1049.pdf BWV 1049] || BWV 1049 = BWV 1057<br />
|-<br />
| No. 5 || BWV 1050 || Concerto / Fl, VnPr, Cem concertato; Vn, Va, Vc, Vne, Cem || D Major || || <br />
|-<br />
| No. 5a || BWV 1050a || Concerto / Fl, VnPr, Cem concertato; Vn, Va, Vne || D Major || [http://esf.ccarh.org/MuseData-Bach-PDFs/01-bwv1050a_correct_version.pdf BWV 1050a] || <br />
|-<br />
| No. 6 || BWV 1051 || Concerto / 2Va, 2Va da gamba, Vc, Vne, Cem || B{{music|flat}} Major || [http://esf.ccarh.org/MuseData-Bach-PDFs/01-bwv1051.pdf BWV 1051] || <br />
|}<br />
<br />
===Miscellaneous Concertos===<br />
<br />
Copies from around 1730 survive for four miscellaneous concertos by Bach. Two or more of them may have been composed earlier, during Bach's Cöthen period. They follow three-movement plans, but relatively little is known about the circumstances for which they were intended. The sinfonia, judged to come from 1743-46, is believed to be detached from a lost cantata.<br />
<br />
BWV 1043, for two violins and strings, is one of Bach's best known and most widely played works.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Title !! Catalogue No. !! Genre / Instruments !! Key !! Notes !! Score<br />
|-<br />
| No. 1 || BWV 1041 || Concerto / VnPr; 2Vn, Va, Bc || A Minor || || [https://pdf.musedata.org/?id=bachjs-bwv1041&L1=(C)%201993,%202002%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Miscellaneous%20Orchestral%20Works&R1=%P%20of%20%C&R2=Steven%20Rassmussen&R3=BWV%201041 BWV 1041, 1st movement]<br />
|-<br />
| No. 2 || BWV 1042 || Concerto / || E Major || || Example<br />
|-<br />
| No. 3 || BWV 1043 || Concerto / 2VnPr; 2Vn, Va, Bc || D Minor || || [https://pdf.musedata.org/?id=bachjs-bwv1041&L1=(C)%201993,%202002%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Miscellaneous%20Orchestral%20Works&R1=%P%20of%20%C&R2=Steven%20Rassmussen&R3=BWV%201041 BWV 1043]<br />
|-<br />
| No. 4 || BWV 1044 || Concerto / || A Minor || || Example<br />
|-<br />
| No. 5 || BWV 1045 || Sinfonia / 3Tr, Timp, 2Ob; 2Vn, Va, Bc || D Major || || Example<br />
<br />
|}<br />
<br />
===Orchestral Suites===<br />
<br />
Bach's orchestral suites come down to our time in editions based on third-party manuscripts. Surviving parts date from c.1730-1745. Some argue that lost originals may have come from Cöthen years (1717-1723), with Prince Leopold of Anhalt-Cöthen being the intended recipient. Yet unlike the Brandenburgs, the orchestral suites were not envisaged as a set. (The attribution of a putative fifth orchestra suite, BWV 1070, is widely discredited. BWV 1071, which is effectively a suite, corresponds to BWV 1046a, the alternative version of the first Brandenburg Concerto.)<br />
<br />
Each suite has a distinctly different character, each calls for an ensemble of a different composition, and each consists of a different number and sequence of movements. The treble wind instrument in No. 2 (originally in A Minor) is variously claimed to have been an oboe or a violin, although the flute and viola parts for it are in Bach's hand on one manuscript set in Berlin. We know that Bach sometimes modified one or another aspect (e.g. key) of individual works in his instrumental collections to meld the whole into a coherent entity. This may not have been the case with the ouvertures (as the orchestral suites were originally named), but the latitude to make changes is ever-present. <br />
<br />
Earlier full or partial versions exist for two of the works, giving latitude to arguments for alternative instrumental choices. In the case of No. 2 (possibly the latest of the group), partisan perspectives on the principal part variously favor the violin ([https://en.wikipedia.org/wiki/Joshua_Rifkin Joshua Rifkin]), the flute ([https://boyer.temple.edu/about/faculty-staff Steven Zohn]), or the oboe ([https://en.wikipedia.org/wiki/Gonzalo_X._Ruiz Gonsalo Ruiz]). (<i>Copy dates in the table below do not establish date of composition.</i>) <br />
<br />
====No. 1. BWV 1066====<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Movement name !! Catalogue No. !! Instruments !! Key !! Earliest copy date !! Score<br />
|-<br />
| Ouverture || BWV 1066 || 2Ob, Bn, 2Vn, Va, Vc, Cb, Continuo || C Major || Leipzig, 1724-1725 || [https://pdf.musedata.org/?id=bachjs-bwv1066-mvmt1&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201066 BWV 1066: Ouverture]<br />
|-<br />
| Courante || BWV 1066 || 2Ob, Bn, 2Vn, Va, Vc, Cb, Continuo || C Major || Leipzig, 1724-1725 || [https://pdf.musedata.org/?id=bachjs-bwv1066-mvmt2&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201066 BWV 1066: Courante]<br />
|-<br />
| Gavottes 1, 2 || BWV 1066 || 2Ob, Bn, 2Vn, Va, Vc, Cb, Continuo || C Major || Leipzig, 1724-1725 || [https://pdf.musedata.org/?id=bachjs-bwv1066-mvmt3&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201066 BWV 1066: Gavottes 1, 2]<br />
|-<br />
| Forlane || BWV 1066 || 2Ob, Bn, 2Vn, Va, Vc, Cb, Continuo || C Major || Leipzig, 1724-1725 || [https://pdf.musedata.org/?id=bachjs-bwv1066-mvmt4&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201066 BWV 1066: Forlane]<br />
|-<br />
| Menuets 1, 2 || BWV 1066 || 2Ob, Bn, 2Vn, Va, Vc, Cb, Continuo || C Major || Leipzig, 1724-1725 || [https://pdf.musedata.org/?id=bachjs-bwv1066-mvmt5&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201066 BWV 1066: Menuets 1, 2]<br />
|-<br />
| Bourrées 1, 2 || BWV 1066 || 2Ob, Bn, 2Vn, Va, Vc, Cb, Continuo || C Major || Leipzig, 1724-1725 || [https://pdf.musedata.org/?id=bachjs-bwv1066-mvmt6&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201066 BWV 1066: Bourrées 1, 2]<br />
|-<br />
| Passepieds 1, 2 || BWV 1066 || 2Ob, Bn, 2Vn, Va, Vc, Cb, Continuo || C Major || Leipzig, 1724-1725 || [https://pdf.musedata.org/?id=bachjs-bwv1066-mvmt7&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201066 BWV 1066: Passepieds 1, 2]<br />
|-<br />
|}<br />
<br />
====No. 2. BWV 1067====<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Movement name !! Catalogue no. !! Instruments !! Key !! Earliest copy !! Score<br />
|-<br />
| Ouverture || BWV 1067 || Fl, 2Vn, Va, Vc, Cb, Continuo || B Minor || 1738-1739 || [https://pdf.musedata.org/?id=bachjs-bwv1067-mvmt1&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201067 BWV 1067: Ouverture]<br />
|-<br />
| Rondeau || BWV 1067 || Fl, 2Vn, Va, Vc, Cb, Continuo || B Minor || 1738-1739 || [https://pdf.musedata.org/?id=bachjs-bwv1067-mvmt2&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201067 BWV 1067: Rondeau]<br />
|-<br />
| Sarabande || BWV 1067 || Fl, 2Vn, Va, Vc, Cb, Continuo || B Minor || 1738-1739 || [https://pdf.musedata.org/?id=bachjs-bwv1067-mvmt3&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201067 BWV 1067: Sarabande]<br />
|-<br />
| Bourrées I, II || BWV 1067 || Fl, 2Vn, Va, Vc, Cb, Continuo || B Minor || 1738-1739 || [https://pdf.musedata.org/?id=bachjs-bwv1067-mvmt4&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201067 BWV 1067: Bourrées I, II]<br />
|-<br />
| Polonaise || BWV 1067 || Fl, 2Vn, Va, Vc, Cb, Continuo || B Minor || 1738-1739 || [https://pdf.musedata.org/?id=bachjs-bwv1067-mvmt5&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201067 BWV 1067: Polonaise, Double] (Based on Polish song [https://staremelodie.pl/piosenka/5109/Wezme_ja_kontusz "Wezmę ja kontusz"])<br />
|-<br />
| Menuet || BWV 1067 || Fl, 2Vn, Va, Vc, Cb, Continuo || B Minor || 1738-1739 || [https://pdf.musedata.org/?id=bachjs-bwv1067-mvmt6&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201067 BWV 1067: Menuet]<br />
|-<br />
| Badinerie || BWV 1067 || Fl, 2Vn, Va, Vc, Cb, Continuo || B Minor || 1738-1739 || [https://pdf.musedata.org/?id=bachjs-bwv1067-mvmt7&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201067 BWV 1067: Badinerie]<br />
|}<br />
<br />
====No. 3. BWV 1068====<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Movement name !! Catalogue no. !! Instruments !! Key !! Earliest copy !! Score<br />
|-<br />
| Ouverture || BWV 1068 || 3Tr, Timp, 2Ob, 2Vn, Va, Vc, Cb, Continuo || D Major || 1730 || [https://pdf.musedata.org/?id=bachjs-bwv1068-mvmt1&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201068 BWV 1068: Ouverture]<br />
|-<br />
| Air || BWV 1068 || 2Vn, Va, Bc || D Major || 1730 || [https://pdf.musedata.org/?id=bachjs-bwv1068-mvmt2&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201068 BWV 1068: Air]<br />
|-<br />
| Gavottes I, II || BWV 1068 || 3Tr, Timp, 2Ob, 2Vn, Va, Vc, Cb, Continuo || D Major || 1730 || [https://pdf.musedata.org/?id=bachjs-bwv1068-mvmt3&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201068 BWV 1068: Gavottes I, II]<br />
|-<br />
| Bourrée || BWV 1068 || 3Tr, Timp, 2Ob, 2Vn, Va, Vc, Cb, Continuo || D Major || 1730 || [https://pdf.musedata.org/?id=bachjs-bwv1068-mvmt4&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201068 BWV 1068: Bourrée]<br />
|-<br />
| Gigue || BWV 1068 || 3Tr, Timp, 2Ob, 2Vn, Va, Vc, Cb, Continuo || D Major || 1730 || [https://pdf.musedata.org/?id=bachjs-bwv1068-mvmt5&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201068 BWV 1068: Gigue]<br />
|}<br />
<br />
====No. 4. BWV 1069====<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Movement name !! Catalogue no. !! Instruments !! Key !! Earliest copy !! Score<br />
|-<br />
| Ouverture || BWV 1069 || 3Tr, Timp, 3Ob, Bn, 2Vn, Va, Vc, Cb, Continuo || D Major || 1730 || [https://pdf.musedata.org/?id=bachjs-bwv1069-mvmt1&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201069 BWV 1069: Ouverture]<br />
|-<br />
| Bourrées I, II || BWV 1069 || 3Tr, Timp, 3Ob, Bn, 2Vn, Va, Vc, Cb, Continuo || D Major || 1730 || [https://pdf.musedata.org/?id=bachjs-bwv1069-mvmt2&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201069 BWV 1069: Bourrées I, II]<br />
|-<br />
| Gavotte || BWV 1069 ||3Tr, Timp, 3Ob, Bn, 2Vn, Va, Vc, Cb, Continuo || D Major || 1730 || [https://pdf.musedata.org/?id=bachjs-bwv1069-mvmt3&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C BWV 1069: Gavotte]<br />
|-<br />
| Menuets I, II || BWV 1069 || 3Ob, Bn, 2Vn, Va, Vc, Cb, Continuo || D Major || 1730 || [https://pdf.musedata.org/?id=bachjs-bwv1069-mvmt4&L1=(C)%202002,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Orchestral%20Suites&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%201069 BWV 1069: Menuets I, II]<br />
|-<br />
| Réjouissance || BWV 1069 || 3Tr, Timp, 3Ob, Bn, 2Vn, Va, Vc, Cb, Continuo || D Major || 1730 || Example<br />
|}<br />
<br />
==Works for Organ==<br />
<br />
===Preludes and Fugues for Organ (BWV 531-535)===<br />
These two-movement sets for organ, despite their outward resemblance to the Well-Tempered Clavier and the Inventions, share with the orchestral suites that they span quite a stretch of Bach's lifetime. They share the two-movement arrangement but were undoubtedly composed for varied circumstances. Despite the span of years they cover, these works are set apart by the brilliance of the preludes. As assembled, they begin on consecutive tones of a pentatonic cycle--C Major (<i>c</i>1703-<i>c</i>1707), D Major (1708-1712), E Minor (1703), F Minor (<i>c</i>1712-1717), and G Minor (post-1717). (N.B. <i>Subscripts in the table below distinguish preludes and fugues sharing a BWV number. They do not refer to other versions of the work.</i>)<br />
<br />
The first, third, and fifth of these pairs are thought to come from Bach's Arnstadt period (1703-1707), when he was serving as organist at the Neue Kirche. Some of Bach's best-known chorale settings are considered to come from this period. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Work Number !! Catalogue Number !! Genre/instrumentation !! Key !! Score<br />
|-<br />
| No. 1a || BWV 531a || Prelude/Organ || C Major || [https://pdf.musedata.org/?id=bachjs_bwv531-mvmt1&L1=(C)%201992%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Organ%20Preludes%20and%20Fugues&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20531a BWV 531a]<br />
|-<br />
| No. 1b || BWV 531b || Fugue/Organ || C Major || [https://pdf.musedata.org/?id=bachjs_bwv531-mvmt2&L1=(C)%201992%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Organ%20Preludes%20and%20Fugues&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20531b BWV 531b]<br />
|-<br />
| No. 2a || BWV 532a || Prelude/Organ || D Major || [https://pdf.musedata.org/?id=bachjs-bwv532&L1=(C)%201992%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Prelude%20and%20Fugue%20in%20D%20Major&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20532 BWV 532]<br />
|-<br />
| No. 2b || BWV 532b || Fugue/Organ || D Major || [https://pdf.musedata.org/?id=bachjs-bwv532&L1=(C)%201992%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Prelude%20and%20Fugue%20in%20D%20Major&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20532 BWV 532]<br />
|-<br />
| No. 3a || BWV 533a || Prelude/Organ || E Minor || [https://pdf.musedata.org/?id=bachjs-bwv533-mvmt1&L1=(C)%201992%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Organ%20Preludes%20and%20Fugues&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20533a BWV 533a]<br />
|-<br />
| No. 3b || BWV 533b || Fugue/Organ || E Minor || [https://pdf.musedata.org/?id=bachjs-bwv533-mvmt2&L1=(C)%201992%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Organ%20Preludes%20and%20Fugues&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20533b BWV 533b]<br />
|-<br />
| No. 4a || BWV 534a || Prelude/Organ || F Minor || [https://pdf.musedata.org/?id=bachjs-bwv534-mvmt1&L1=(C)%201992%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Organ%20Preludes%20and%20Fugues&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20534a BWV 534a]<br />
|-<br />
| No. 4b || BWV 534b || Fugue/Organ || F Minor || [https://pdf.musedata.org/?id=bachjs-bwv534-mvmt2&L1=(C)%201992%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Organ%20Preludes%20and%20Fugues&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20534b BWV 534b]<br />
|-<br />
| No. 5a || BWV 535a || Prelude/Organ || G Minor || [https://pdf.musedata.org/?id=bachjs-bwv535-mvmt1&L1=(C)%201992%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Organ%20Preludes%20and%20Fugues&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWv%20535a BWV 535a]<br />
|-<br />
| No. 5b || BWV 535b || Fugue/Organ || G Minor || [https://pdf.musedata.org/?id=bachjs-bwv535-mvmt2&L1=(C)%201992%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Organ%20Preludes%20and%20Fugues&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWv%20535b BWV 535b]<br />
|}<br />
<br />
===Preludes and Fugues for Organ (BWV 549-551)===<br />
<br />
In this group of three sets of organ preludes and fugues the first and third seem to come from near the start of Bach's tenure in Arnstadt. The middle set is slightly later (up to 1708) but is still likely to come from Bach's first professional position. Considering that they were composed when the composer was between 18 and 20 years of age, they show his enormous promise.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Work No. !! Catalogue No. !! Genre/Instrumentation !! Key !! Score<br />
|-<br />
| No. 1 || BWV 549 || Prelude & Fugue/Organ || C Minor || [https://pdf.musedata.org/?id=bachjs-bwv549&L1=(C)%201992%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Organ%20Preludes%20and%20Fugues&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20549 BWV 549]<br />
|-<br />
| No. 2 || BWV 550 || Prelude & Fugue/Organ || G Major || [https://pdf.musedata.org/?id=bachjs-bwv550&L1=(C)%201992%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Organ%20Preludes%20and%20Fugues&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20550 BWV 550]<br />
|-<br />
| No. 3 || BWV 551 || Prelude & Fugue/Organ || A Minor || [https://pdf.musedata.org/?id=bachjs-bwv551-mvmt1&L1=(C)%201992%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Organ%20Preludes%20and%20Fugues&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20551 BWV 551]<br />
|-<br />
|}<br />
<br />
===Miscellaneous Works for Organ===<br />
<br />
* Prelude in G Major ([https://pdf.musedata.org/?id=bachjs-bwv568&L1=(C)%202003,%202005%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Praeludium%20in%20G%20Major%20(BWV%20568)&R1=%P%20of%20%C&R2=Frances%20Bennion,%20ed.&R3=BWV%20568 BWV 568])<br />
<br />
Very little is known about the Prelude in G Major. <br />
<br />
* Prelude in A Minor (BWV 569)<br />
<br />
Similarly little-known, this work was composed before 1717.<br />
<br />
==Works for Harpsichord==<br />
<br />
=== The Well-Tempered Clavier ===<br />
<br />
Bach composed two books of 24 pairs of works in each key (major and minor) of the "well-tempered" keyboard. Each pair consists of a prelude and fugue. [https://www.britannica.com/art/equal-temperament Equal temperament], the practical virtue of which was the ability to play in any key without retuning the instrument, was emerging when Bach compiled the first book of the [https://en.wikipedia.org/wiki/The_Well-Tempered_Clavier <i>Well-Tempered Clavier</i>]. Equal temperament, in which each named tone is set equidistant (in cents) from adjacent keys, was not instantly adopted everywhere. Organs were generally tuned to [https://en.wikipedia.org/wiki/Meantone_temperament meantone temperament]. Much of the music of Asia employs [https://en.wikipedia.org/wiki/Just_intonation just intonation], which requires an instrument to be retuned for the next piece, unless it is in the same key as the preceding one. Bach demonstrated the use of equal temperament by compiling this cycle of short pieces. The preludes could show off the effect of equal temperament in scale passages, while the fugues' imitative processes required consonance in certain places to fulfill the work's satisfaction of the genre's requirements.<br />
<br />
===WTC: Book I (1722)===<br />
<br />
Book I of the Well-Tempered Clavier was published towards the end of Bach's tenure at the Cöthen court. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Work No. !! Catalogue No. !! Genre/instrument !! Key !! Score<br />
|-<br />
| No. 1a || BWV 846a || Prelude/keyboard || C Major || [https://pdf.musedata.org/?id=bachjs-bwv846a&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Prelude%20No.%201%20in%20C%20Major%20(BWV%20846a)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20846a BWV 846a]<br />
|-<br />
| No. 1b || BWV 846b || Fugue/keyboard || C Major || [https://pdf.musedata.org/?id=bachjs-bwv846b&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Fugue%20No.%201%20in%20C%20Major%20(BWV%20846b)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20846b BWV 846b]<br />
|-<br />
| No. 2a || BWV 847a || Prelude/keyboard || C Minor || [https://pdf.musedata.org/?id=bachjs-bwv847a&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Prelude%20No.%202%20in%20C%20Minor%20(BWV%20847a)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20847a BWV 847a] <br />
|-<br />
| No. 2b || BWV 847b || Fugue/keyboard || C Minor || [https://pdf.musedata.org/?id=bachjs-bwv847b&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Fugue%20No.%202%20in%20C%20Minor%20(BWV%20847b)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20847b BWV 847b]<br />
|-<br />
| No. 3a || BWV 848a || Prelude/keyboard || C# Major || [https://pdf.musedata.org/?id=bachjs-bwv848a&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Prelude%20No.%203%20in%20C#%20Major%20(BWV%20848a)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20848a BWV 848a]<br />
|-<br />
| No. 3b || BWV 848b || Fugue/keyboard || C# Major || [https://pdf.musedata.org/?id=bachjs-bwv848b&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Fugue%20No.%203%20in%20C#%20Major%20(BWV%20848b)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20848b BWV 848b]<br />
|-<br />
| No. 4a || BWV 849a || Prelude/keyboard || C# Minor || [https://pdf.musedata.org/?id=bachjs-bwv849a&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Prelude%20No.%204%20in%20C#%20Minor%20(BWV%20849a)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20849a BWV 849a]<br />
|-<br />
| No. 4b || BWV 849b || Fugue/keyboard || C# Minor || [https://pdf.musedata.org/?id=bachjs-bwv849b&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Fugue%20No.%204%20in%20C#%20Minor%20(BWV%20849b)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20849b BWV 849b]<br />
|-<br />
| No. 5a || BWV 850a || Prelude/keyboard || D Major || [https://pdf.musedata.org/?id=bachjs-bwv850a&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Prelude%20No.%205%20in%20D%20Major%20(BWV%20850a)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20850a BWV 850a]<br />
|-<br />
| No. 5b || BWV 850b || Fugue/keyboard || D Minor || [https://pdf.musedata.org/?id=bachjs-bwv850b&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Fugue%20No.%205%20in%20D%20Major%20(BWV%20850b)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20850b BWV 850b]<br />
|-<br />
| No. 6a || BWV 851a || Prelude/keyboard || D Minor || [https://pdf.musedata.org/?id=bachjs-bwv851a&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Prelude%20No.%206%20in%20D%20Minor%20(BWV%20851a)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20851a BWV 851a]<br />
|-<br />
| No. 6b || BWV 851b || Fugue/keyboard || D Minor || [https://pdf.musedata.org/?id=bachjs-bwv851b&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Fugue%20No.%206%20in%20D%20Minor%20(BWV%20851b)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20851b BWV 851b]<br />
|-<br />
| No. 7a || BWV 852a || Prelude/keyboard || Eb Major || [https://pdf.musedata.org/?id=bachjs-bwv852a&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Prelude%20No.%207%20in%20Eb%20Major%20(BWV%20852a)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20852a BWV 852a]<br />
|-<br />
| No. 7b || BWV 852b || Fugue/keyboard || Eb Major || [https://pdf.musedata.org/?id=bachjs-bwv852b&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Fugue%20No.%207%20in%20Eb%20Major%20(BWV%20852b)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20852b BWV 852b]<br />
|-<br />
| No. 8a || BWV 853a || Prelude/keyboard || Eb Minor || [https://pdf.musedata.org/?id=bachjs-bwv853a&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Prelude%20No.%208%20in%20Eb%20Minor%20(BWV%20853a)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20853a BWV 853a]<br />
|-<br />
| No. 8b || BWV 853b || Fugue/keyboard || D# Minor || [https://pdf.musedata.org/?id=bachjs-bwv853b&L1=(C)%201994%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=http://wiki.ccarh.org&L3=Bach,%20J.S.:%20Fugue%20No.%208%20in%20D#%20Minor%20(BWV%20853b)&R1=%P%20of%20%C&R2=Walter%20Hewlett,%20ed.&R3=BWV%20853b BWV 853b]<br />
|-<br />
| No. 9a || BWV 854a || Example || Example || Example<br />
|-<br />
| No. 9b || BWV 854b || Example || Example || Example<br />
|-<br />
| No. 10a || BWV 855a || Example || Example || Example<br />
|-<br />
| No. 10b || BWV 855b || Example || Example || Example<br />
|-<br />
| No. 11a || BWV 856a || Example || Example || Example<br />
|-<br />
| No. 11b || BWV 856b || Example || Example || Example<br />
|-<br />
| No. 12a || BWV 857a || Example || Example || Example<br />
|-<br />
| No. 12b || BWV 857b || Example || Example || Example<br />
|-<br />
| No. 13a || BWV 858a || Example || Example || Example<br />
|-<br />
| No. 13b || BWV 858b || Example || Example || Example<br />
|-<br />
| No. 14a || BWV 859a || Example || Example || Example<br />
|-<br />
| No. 14b || BWV 859b || Example || Example || Example<br />
|-<br />
| No. 15a || BWV 860a || Example || Example || Example<br />
|-<br />
| No. 15b || BWV 860b || Example || Example || Example<br />
|-<br />
| No. 16a || BWV 861a || Example || Example || Example<br />
|-<br />
| No. 16b || BWV 861b || Example || Example || Example<br />
|-<br />
| No. 17a || BWV 862a || Example || Example || Example<br />
|-<br />
| No. 17b || BWV 862b || Example || Example || Example<br />
|-<br />
| No. 18a || BWV 863a || Example || Example || Example<br />
|-<br />
| No. 18b || BWV 863b|| Example || Example || Example<br />
|-<br />
| No. 19a || BWV 864a || Example || Example || Example<br />
|-<br />
| No. 19b || BWV 864b || Example || Example || Example<br />
|-<br />
| No. 20a || BWV 865a || Example || Example || Example<br />
|-<br />
| No. 20b || BWV 865b || Example || Example || Example<br />
|-<br />
| No. 21a || BWV 866a || Example || Example || Example<br />
|-<br />
| No. 21b || BWV 866b || Example || Example || Example<br />
|-<br />
| No. 22a || BWV 867a || Example || Example || Example<br />
|-<br />
| No. 22b || BWV 867b || Example || Example || Example<br />
|-<br />
| No. 23a || BWV 868a || Example || Example || Example<br />
|-<br />
| No. 23b || BWV 868b || Example || Example || Example<br />
|-<br />
| No. 24a || BWV 869a || Example || Example || Example<br />
|-<br />
| No. 24b || BWV 869b || Example || Example || Example<br />
|}<br />
<br />
===WTC: Book II (1742)===<br />
<br />
=== Two-part Inventions ===<br />
<br />
[[File:JSB_Inv4.PNG|280px|thumb|right|J. S. Bach: Invention No. 4 [BWV 775] from the holograph manuscript, Mus.ms. Bach P 610, Berlin, Deutsche Staatsbibliothek.]]<br />
<br />
Bach's two-part inventions (BWV 772-786) constituted one set of several that J. S. Bach composed for his gifted son Wilhelm Friedemann Bach (1710-1784). The term invention is traced to the solo violin pieces Op. 10 (1713) by Francesco Antonio Bonporti (1672-1749), a Trentine composer. Bach uses the Latin title <i>Inventio</i>, reminding us of his command of the language, which he sometimes taught (in addition to teaching, composing, and performing music). Each three-voice work [see next section] was likewise called a <i>Sinfonia</i>.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Work No. !! Catalogue No. !! Genre / Instrument !! Key !! Score<br />
|-<br />
| No. 1 || BWV 772 || Invention / harpsichord || C Major|| [https://pdf.musedata.org/?id=bachjs-bwv772 BWV 772]<br />
|-<br />
| No. 1a || BWV 772a || Invention / harpsichord || C Major || <br />
|-<br />
| No. 2 || BWV 773 || Invention / harpsichord || C Minor || [https://pdf.musedata.org/?id=bachjs-bwv773&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=wiki.ccarh.org&L3=Bach,%20J.S.:%20Invention%20No.%202%20in%20C%20minor&R1=%P=2%20of%2015&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20773 BWV 773]<br />
|-<br />
| No. 3 || BWV 774 || Invention / harpsichord || D Major || [https://pdf.musedata.org/?id=bachjs-bwv774&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=wiki.ccarh.org&L3=Bach,%20J.S.:%20Invention%20No.%203%20in%20D%20major&R1=%P=3%20of%2015&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20774 BWV 774]<br />
|-<br />
| No. 4 || BWV 775 || Invention / harpsichord || D Minor || [https://pdf.musedata.org/?id=bachjs-bwv775&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=wiki.ccarh.org&L3=Bach,%20J.S.:%20Invention%20No.%204%20in%20D%20minor&R1=%P=4%20of%2015&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20775 BWV 775]<br />
|-<br />
| No. 5 || BWV 776 || Invention / harpsichord || E{{music|flat}} Major || [https://pdf.musedata.org/?id=bachjs-bwv776&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=wiki.ccarh.org&L3=Bach,%20J.S.:%20Invention%20No.%205%20in%20E-flat%20major&R1=%P=5%20of%2015&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20776 BWV 776]<br />
|-<br />
| No. 6 || BWV 777 || Invention / harpsichord || E Major || [https://pdf.musedata.org/?id=bachjs-bwv777&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=wiki.ccarh.org&L3=Bach,%20J.S.:%20Invention%20No.%206%20in%20E%20major&R1=%P=6%20of%2015&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20777 BWV 777]<br />
|-<br />
| No. 7 || BWV 778 || Invention / harpsichord || E Minor || [https://pdf.musedata.org/?id=bachjs-bwv778&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=wiki.ccarh.org&L3=Bach,%20J.S.:%20Invention%20No.%207%20in%20E%20minor&R1=%P=7%20of%2015&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20778 BWV 778]<br />
|-<br />
| No. 8 || BWV 779 || Invention / harpsichord || F Major || [https://pdf.musedata.org/?id=bachjs-bwv779&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=wiki.ccarh.org&L3=Bach,%20J.S.:%20Invention%20No.%208%20in%20F%20major&R1=%P=8%20of%2015&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20779 BWV 779]<br />
|-<br />
| No. 9 || BWV 780 || Invention / harpsichord || F Minor || [https://pdf.musedata.org/?id=bachjs-bwv780&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=wiki.ccarh.org&L3=Bach,%20J.S.:%20Invention%20No.%209%20in%20F%20minor&R1=%P=9%20of%2015&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20780 BWV 780]<br />
|-<br />
| No. 10 || BWV 781 || Invention / harpsichord || G Major || [https://pdf.musedata.org/?id=bachjs-bwv781&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=wiki.ccarh.org&L3=Bach,%20J.S.:%20Invention%20No.%2010%20n%20G%20major&R1=%P=10%20of%2015&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20781 BWV 781]<br />
|-<br />
| No. 11 || BWV 782 || Invention / harpsichord || G Minor || [https://pdf.musedata.org/?id=bachjs-bwv782&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=wiki.ccarh.org&L3=Bach,%20J.S.:%20Invention%20No.%2011%20in%20G%20minor&R1=%P=11%20of%2015&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20782 BWV 782]<br />
|-<br />
| No. 12 || BWV 783 || Invention / harpsichord || A Major || [https://pdf.musedata.org/?id=bachjs-bwv783&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=wiki.ccarh.org&L3=Bach,%20J.S.:%20Invention%20No.%2012%20in%20A%20major&R1=%P=12%20of%2015&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20783 BWV 783]<br />
|-<br />
| No. 13 || BWV 784 || Invention / harpsichord || A Minor || [https://pdf.musedata.org/?id=bachjs-bwv784&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=wiki.ccarh.org&L3=Bach,%20J.S.:%20Invention%20No.%2013%20in%20A%20minor&R1=%P=13%20of%2015&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20784 BWV 784]<br />
|-<br />
| No. 14 || BWV 785 || Invention / harpsichord || Bb Major || [https://pdf.musedata.org/?id=bachjs-bwv785&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=wiki.ccarh.org&L3=Bach,%20J.S.:%20Invention%20No.%2014%20in%20B-flat%20major&R1=%P=14%20of%2015&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20785 BWV 785]<br />
|-<br />
| No. 15 || BWV 786 || Invention / harpsichord || B Minor || [https://pdf.musedata.org/?id=bachjs-bwv786&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=wiki.ccarh.org&L3=Bach,%20J.S.:%20Invention%20No.%2015%20in%20B%20minor&R1=%P=15%20of%2015&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20786 BWV 786] <br />
|}<br />
<br />
The harmonic cycle that Bach has constructed in the collection as a whole foreshadows the tonally more complete cycles of the two sets of paired preludes and fugues called the Well-Tempered Clavier. They appeared in 1722 and 1744. It was not enough for young Friedemann to be able to play the pieces. He was being called to understand the cyclic possibilities that inhered in tonal relationships. This was a dominant focus in music theory of the time. Johann David Heinichen's [https://en.wikipedia.org/wiki/Circle_of_fifths Circle of Fifths] was first formalized in 1711 and has remained the dominant scheme for rationalizing harmonic relations in Western music theory.<br />
<br />
===Three-part Inventions (<i>Sinfonie</i>)===<br />
The three-part inventions, or <i>sinfonie</i>, follow the same cyclical organization in the aggregate. It has been suggested that the intended relationship between the inventions and sinfonias was to be performed in pairs, like the prelude-fugue sets of the Well-Tempered Clavier. Given their shared cycle of keys, Invention No. 1 might be followed by Sinfonia No. 1 and so forth.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Work No. !! Catalogue No. !! Genre / Instrument !! Key !! Score<br />
|-<br />
| No. 1 || BWV 787 || Sinfonia / harpsichord || C Major|| [https://pdf.musedata.org/?id=bachjs-bwv787&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=Steven%20Rasmussen,%20ed.&L3=Bach,%20J.S.:%20Sinfonia%20No.%201&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20787 BWV 787]<br />
|-<br />
| No. 2 || BWV 788 || Sinfonia / harpsichord || C Minor || [https://pdf.musedata.org/?id=bachjs-bwv788&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=Steven%20Rasmussen,%20ed.&L3=Bach,%20J.S.:%20Sinfonia%20No.%202&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20788 BWV 788]<br />
|-<br />
| No. 3 || BWV 789 || Sinfonia / harpsichord || D Major || [https://pdf.musedata.org/?id=bachjs-bwv789&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=Steven%20Rasmussen,%20ed.&L3=Bach,%20J.S.:%20Sinfonia%20No.%203&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20789 BWV 789]<br />
|-<br />
| No. 4 || BWV 790 || Sinfonia / harpsichord || D Minor || [https://pdf.musedata.org/?id=bachjs-bwv790&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=Steven%20Rasmussen,%20ed.&L3=Bach,%20J.S.:%20Sinfonia%20No.%204&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20790 BWV 790]<br />
|-<br />
| No. 5 || BWV 791 || Sinfonia / harpsichord || E{{music|flat}} Major || [https://pdf.musedata.org/?id=bachjs-bwv791&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=Steven%20Rasmussen,%20ed.&L3=Bach,%20J.S.:%20Sinfonia%20No.%205&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20791 BWV 791]<br />
|-<br />
| No. 6 || BWV 792 || Sinfonia / harpsichord || E Major || [https://pdf.musedata.org/?id=bachjs-bwv792&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=Steven%20Rasmussen,%20ed.&L3=Bach,%20J.S.:%20Sinfonia%20No.%206&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20792 BWV 792]<br />
|-<br />
| No. 7 || BWV 793 || Sinfonia / harpsichord || E Minor || [https://pdf.musedata.org/?id=bachjs-bwv793&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=Steven%20Rasmussen,%20ed.&L3=Bach,%20J.S.:%20Sinfonia%20No.%207&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20793 BWV 793]<br />
|-<br />
| No. 8 || BWV 794 || Sinfonia / harpsichord || F Major || [https://pdf.musedata.org/?id=bachjs-bwv794&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=Steven%20Rasmussen,%20ed.&L3=Bach,%20J.S.:%20Sinfonia%20No.%208&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20794 BWV 794]<br />
|-<br />
| No. 9 || BWV 795 || Sinfonia / harpsichord || F Minor || <br />
|-<br />
| No. 10 || BWV 796 || Sinfonia / harpsichord || G Major || <br />
|-<br />
| No. 11 || BWV 797 || Sinfonia / harpsichord || G Minor || [https://pdf.musedata.org/?id=bachjs-bwv797&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=Steven%20Rasmussen,%20ed.&L3=Bach,%20J.S.:%20Sinfonia%20No.%2011&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20797 BWV 797]<br />
|-<br />
| No. 12 || BWV 798 || Sinfonia / harpsichord || A Major || <br />
|-<br />
| No. 13 || BWV 799 || Sinfonia / harpsichord || A Minor || <br />
|-<br />
| No. 14 || BWV 800 || Sinfonia / harpsichord || Bb Major || [https://pdf.musedata.org/?id=bachjs-bwv800&L1=(C)%201993%20Center%20for%20Computer%20Assisted%20Research%20in%20the%20Humanities%20(CCARH)&L2=Steven%20Rasmussen,%20ed.&L3=Bach,%20J.S.:%20Sinfonia%20No.%2014&R1=%P%20of%20%C&R2=Steven%20Rasmussen,%20ed.&R3=BWV%20800 BWV 800]<br />
|-<br />
| No. 15 || BWV 801 || Sinfonia / harpsichord || B Minor || <br />
|}</div>Edchttps://wiki.ccarh.org/index.php?title=Muse2ps&diff=10516Muse2ps2021-03-30T18:57:56Z<p>Edc: /* Zbex programs */</p>
<hr />
<div>__TOC__<br />
<br />
== Overview == <br />
<br />
The <b>muse2ps</b> program is a command-line version of the [[autoset]], [[mskpage]] and [[pspage]] programs which are usually run within the [[dmuse]] editor using the built-in [[zbex language]] interpreter. The ''muse2ps'' program reads MuseData [[stage2]] data or [[page file]] data from standard input and converts them into PostScript data representing graphical musical notation which is sent to standard output. The following diagram illustrates the flow of data through ''muse2ps'':<br />
<br />
<br />
<center><br />
[[File:muse2ps-dataflow.svg]]<br />
</center><br />
<br />
The ''muse2ps'' program can accept two forms of input. By default, the ''muse2ps'' program will read multi-file [[stage2]] data from standard input. MuseData [[stage2]] files contain primarily symbolic musical data with possibly a little bit of formatting information (such as system and page breaks). The ''muse2ps'' program will format this symbolic music internally into [[page files]] which give explicit information about the placement of notes, slurs, beams, dynamics, lyrics, ''etc.'' on each page of music.<br />
<br />
Alternatively, if the <tt>=p</tt> option is given as an [[argument]] to ''muse2ps'', the program can read multi-file [[page files]] directly from standard input. Typically, [[stage2]] files are converted automatically into [[pages files]] and then further processing is done on these [[page files]] in order to produce a final typeset score of the graphical music notation. For example, the [[vskpage]] is used to refine the vertical spacing of staves and systems on a page of music within [[page files]], and [[eskpage]] is used to interactively edit the position of graphical elements within [[page files]].<br />
<br />
The only output from ''muse2ps'' (besides error messages) is PostScript data which describes the graphical music notation in a printable score of the music. This data can be further processed, such as sending directly to a PostScript printer, or converting into PDF files for web distrubution of the notated music. The representation of music notation within the PostScript file is in the form of bit-mapped musical fonts. The musical fonts are designed for use with 300 DPI resolution printers when printed at the native resolution (originally these fonts were designed for [http://en.wikipedia.org/wiki/Printer_Command_Language PCL-based printers]). These fonts have the unique feature of [http://en.wikipedia.org/wiki/Dither dithered] edges on sloped beams to minimize the visual effect of pixel stepping at 300 DPI resolution. Minor notation editing can be done on the PostScript/PDF files in programs such as Adobe Illustrator. If you print via PDF files, you may want to uncheck the page-scaling option in the printing program in order to avoid aliasing artifacts in the hard copy due to changing the intended size of the music on the page. <br />
<br />
Two other forms of data can be embedded within the PostScript output. If the <tt>=M</tt> option is given as an [[argument]] to the ''muse2ps'' program, then the original [[stage2]] data will be stored within comments in the PostScript data. Likewise, if the <tt>=P</tt> option is given, the [[page file]] data will be included in the PostScript output as comments. The [[page file]] data will either come from automatic generation using [[autoset]]/[[mskpage]], or from standard input if you use the <tt>=p</tt> option.<br />
<br />
There are also numerous options which primarily deal with the formatting of [[stage2]] files with the [[autoset]] and [[mskpage]] program components. See the [[#Options| options]] section below for a complete list of the options.<br />
<br />
== Download ==<br />
<br />
The ''muse2ps'' program executables for various operating systems or the source code can be downloaded from the following table. <b>Instructions for setting up the program for use can be found ''[[Muse2ps_installation_instructions| here]]''.</b><br />
<br />
<br />
<center><br />
{{muse2psdownloadtable}}<br />
</center><br />
<br />
== Online ==<br />
<br />
The ''muse2ps'' program can be run online at http://www.musedata.org/mdconverter . If you click on [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icons next to data found on the http://www.musedata.org website, the musical data will be loaded into this online converter from which PostScript, PDF, or PNG images of the music can be generated. <br />
<br />
For example, click on the [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icon on the information page for this [http://www.musedata.org/encodings/bach/bg/chorals/0428/ Bach chorale], then click on the {{keypress|Submit}} button on the converter page to generate a PDF file of the chorale with the default settings. Then try setting some options, such as using "<tt>[(.)(.)(.)(.)]</tt>" for the <b>System spine</b> option to prevent barlines from being drawn between staves in the score.<br />
<br />
You can create your own MuseData content and print with the online converter as well. Copy and paste the following MuseData content: [[Media:beethoven-kern.md2 | beethoven.md2]] into into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in this graphical music notation:<br />
<center><br />
[[Image:beethoven-kern.png]]<br />
</center><br />
<br />
== Command-line examples ==<br />
<br />
The simplest use of ''muse2ps'' is to send it MuseData [[stage2]] files as standard input, and save standard output from the program into a PostScript file:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps > [[Media:bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
<br />
You may need to use "<tt>./muse2ps</tt>" instead of "<tt>muse2ps</tt>" in the above command if the ''muse2ps'' program file is in the current directory, but the current directory is not in your [http://en.wikipedia.org/wiki/PATH_%28variable%29 command search path]. The PostScript output can then be further processed in an external program. Usually it is more convenient to work with the data as a PDF file. The process of converting PostScript to PDF can be done by many methods. For example, Acrobat Distiller or Acrobat Professional will convert PostScript files into PDF files. There are online converters, such as this one: http://www.ps2pdf.com/convert.htm . And on most linux computers you can convert PostScript into PDF files using the [http://pages.cs.wisc.edu/~ghost/doc/gnu/5.50/Ps2pdf.htm ps2pdf] command:<br />
ps2pdf [[Media:Bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
This will create the file [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]] (replacing the .ps extension with a .pdf extention automatically when saving the PDF file). If you click on the PDF file link in the previous sentence, you should see the musical notation for J.S. Bach's Well-Tempered Clavier, Book I, Prelude 1 in C major.<br />
<br />
An alternate method of using ps2pdf to generate a PDF file in a single step in conjunction with ''muse2ps'' would be with this command-line construction:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps | ps2pdf - > [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]]<br />
<br />
=== Last system justification ===<br />
<br />
By default ''muse2ps'' does not right-justify the last system of the music on the last page of the output (as can be seen in [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]]). If you<br />
want to justify the last system, use the <tt>=j</tt> option as an argument to ''muse2ps'':<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =j | ps2pdf - > [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]<br />
The ''muse2ps'' (or more precisely, the internal [[mskpage]] component) will possibly adjust line breaks on one or more of the previous systems in the score in order to fill enough music onto the last system, and then stretch or contract the music on the last system to fit the width between margins exactly. The <tt>=j</tt> option can potentially take significantly more time to process the input data than when it is omitted. The reason for the increased processing time can be seen by comparing [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]] and [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]. In order to right-justify the last system of the music, all systems in the music were recursively re-typeset so that the first system in the music contains only three measures instead of four.<br />
<br />
=== Grand-Staff vertical spacing ===<br />
<br />
The distance between staves in the grand staff (which is used for instruments such as the piano) can be controlled by the =g option. An integer number follows after the letter "g" in the option which specifies the distance between the two staves in terms of 1/10ths of the distance between staff lines. The default value for this option is =g100 which means that the distance between the top line of each staff is 10 staff lines.<br />
<br />
Here is an example of reducing the spacing between the staves to nothing. The =g50 option in this case means that the distance between the top of each staff is 5 staff lines. And since this is the height of a single staff, there will be no space between the two staves:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =g50 | ps2pdf - > [[Media:bach-wtc1p01-g50.pdf|bach-wtc1p01-g50.pdf]]<br />
<br />
<br />
=== Single-staff spacing in a system ===<br />
<br />
A ''system'' is a collection of staves which represent different instruments playing at the same time. The distance between these staves can be controlled with the =v option. Following =v is a list of comma-separated integers (with no intervening spaces). The unit for these numbers is the same as in the =g option: 1/10th of the distance between successive staff lines.<br />
<br />
The default spacing between staves will depend on whether they are supposed to be barred together or not. Here is the default spacing for four staves of a string quartet:<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
=== Using multiple options ===<br />
<br />
In the previous examples, the prelude is printed on two pages, with a single orphan system occurring on the second page. One way to force the music to fit onto a single page is to set the top margin from 120 pixels to 0 pixels with the option <tt>=t0</tt> and the printable length on the page to 3000 pixels (10 inches) with the option <tt>=l3000</tt>. When supplying multiple optional settings to muse2ps, there is only one option string which starts with the equals character (<tt>=</tt>) and is followed by all options with no spaces. Here is an example of using the <tt>=t0</tt>, <tt>=l3000</tt> and <tt>=j</tt> options at the same time, resulting in a single page of music:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =jt0l3000 | ps2pdf - > [[Media:bach-wtc1p01-jt0l3000.pdf|bach-wtc1p01-jt0l3000.pdf]]<br />
The order of the options in the option string is not important, so for example, "<tt>=l3000t0j</tt>" would yield the same results as "<tt>=jt0l3000</tt>".<br />
<br />
Instead of adjusting the vertical margins with the <tt>=t</tt> and <tt>=l</tt> options, you can also decrease the spacing between staves globally on the system. To do this, use the =v option followed by a list of distances between each staff on the system. In this example there are two staves in each system, so one value is expected after "=v". If there were three or more staves, then the vertical spacing values are separated by commas (and no spaces).<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =v160jt300 | ps2pdf - > [[Media:bach-wtc1p01-v160jt300.pdf|bach-wtc1p01-v160jt300.pdf]]<br />
<br />
In the above example, "<tt>=v160</tt>" means make the spacing between staves on the system slightly more than 1/2 an inch; "<tt>=j</tt>" means to right-justify the last system of music; and "<tt>t300</tt>" means add an extra inch to the top margin (the default setting is "<tt>=t120</tt>".<br />
<br />
=== Music size ===<br />
<br />
The ''muse2ps'' program can typeset music in several sizes: 6, 14, 16, 18 and 21. These numbers refer to the pixel count (at 300 DPI) between successive staff lines. For example, here is a zoom-in of music typeset using the size 6 font, where each staff line is one pixel wide, and there are 5 pixels in the gap between lines, making each staff line spaced every 6 pixels and hence the name "size 6":<br />
<br />
<center><br />
[[File:Dmuse-size6.png|411px]]<br />
</center><br />
<br />
<br />
The default size that ''muse2ps'' will typeset music in is size 14. To display the music at other sizes, use the <tt>=z</tt> option followed by the size. Here is the example prelude printed in all sizes (with right-justification of the last system using <tt>=j</tt> also added to the option string):<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z6j&nbsp;&nbsp;| ps2pdf - > [[Media:bach-wtc1p01-z6j.pdf|bach-wtc1p01-z6j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z14j | ps2pdf - > [[Media:bach-wtc1p01-z14j.pdf|bach-wtc1p01-z14j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z16j | ps2pdf - > [[Media:bach-wtc1p01-z16j.pdf|bach-wtc1p01-z16j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z18j | ps2pdf - > [[Media:bach-wtc1p01-z18j.pdf|bach-wtc1p01-z18j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z21j | ps2pdf - > [[Media:bach-wtc1p01-z21j.pdf|bach-wtc1p01-z21j.pdf]]<br />
<br />
Full-scores are typically printed at size 14 (particularly scores with many parts). Parts for performers are typically printed at sizes 18 or 21. Piano music is typically printed at size 16, and Size 18 has dither on two-pixel wide staff lines. The approximate equivalents to point sizes in regular text (multiplying by the factor 72/300 and then multiplying by 3):<br />
<br />
<center><br />
{| class="wikitable" cellpadding="0" cellspacing="0" border="0"<br />
|- |- {{Style|table header}}<br />
! scope="col" align="left" | MuseData music size<br />
! scope="col" align="left" | Staff height (mm)<br />
! score="col" align="left" | Approximate text font size<br />
! score="col" align="left" | Musical application<br />
|-<br />
| 6 || 2.03 mm || 4 pt || none<br />
|-<br />
| 14 || 4.74 mm || 10 pt || full scores<br />
|-<br />
| 16 || 5.42 mm || 11.5 pt || piano music, vocal scores<br />
|-<br />
| 18 || 6.10 mm || 13 pt || instrumental parts<br />
|-<br />
| 21 || 7.11 mm || 15 pt || large-size instrumental parts<br />
|}<br />
</center><br />
<br />
=== Extracting MPG intermediate data ===<br />
<br />
When a MuseData [[stage2]] file is converted into graphical music notation as PostScript output from ''muse2ps'', it will pass through two data transformation steps. The first step is a conversion from [[stage2]] data into non-page-specific [[i-files]] which is accomplished with the [[autoset]] component. Then these "non-page-specific" [[i-files]] are converted into "page-specific" [[page files|i-files]] (or Music Page (MPG) files) which describe the precise position of musical elements on each page of typeset music. This [[music page]] data can be extracted from the program surreptitiously by using the "=P" option. This will cause the [[MPG]] data to be embedded in comments within the PostScript output. Each page of MPG data will be stored in a sequence of comments starting with "<tt>%=BeginMPGData: 1</tt>", where <tt>1</tt> is the data for page one. And each page of MPG data is ended by the comment <tt>"%=EndMPGData: 1"</tt>.<br />
<br />
All MuseData/dmuse related comments in the PostScript output start with the comment marker "%=", so the MPG data can easily be separated from the PostScript content and other irrelevant comments in a manner such as this:<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =P | grep "^%=" > [[Media:Mpg-comments.txt|mpg-comments.txt]]<br />
The [[regular expression]] search string "<tt>^%=</tt>" used in the [http://en.wikipedia.org/wiki/Grep grep] command means extract lines from the input which start with the two characters "<tt>%=</tt>".<br />
<br />
A PERL utility program, called [[Media:unpackmpg.pl|unpackmpg]], for extracting the MPG data from the comments is included with the source code for ''muse2ps'':<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =Pg85jt200l3000 | [[Media:unpackmpg.pl|unpackmpg]] > [[Media:Mpg-comments.mpg|mpg-comments.mpg]]<br />
In the above command the options mean:<br />
* <tt>=P</tt>: Output [[music page]] data.<br />
* <tt>=g85</tt>: Set the distance between the staves in the grand staff to 8.5 staff lines (default is 100, or 10 staff lines).<br />
* <tt>=j</tt>: Right-justify the last system of the music.<br />
* <tt>=t200</tt>: Set the top margin to 2/3 of a inch below the base position.<br />
* <tt>=l3000</tt>: Set the vertical printable region to 10 inches.<br />
<br />
=== Inputting MPG data (adding a title) ===<br />
<br />
The extracted [[music page]] data from the previous section can be edited (such as to add a title) and then can be reprocessed by ''muse2ps'' to generate PostScript output:<br />
cat [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] | muse2ps =p | ps2pdf - > [[Media:Bach-wtc1p01-title.pdf|bach-wtc1p01-title.pdf]]<br />
<br />
In this case the file [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] is the equivalent to the MPG data generated by ''muse2ps'' in the previous section: [[Media:Mpg-comments.mpg|mpg-comments.mpg]], but with these three lines added to generate a title for the first page:<br />
<br />
<pre><br />
X 14<br />
X 46 1200C 0 Well-Tempered Clavier, Book I, Prelude 1 in C major<br />
X 37 1200C 50 BWV 846<br />
</pre><br />
<br />
The first line sets the font indexes relative to music size 14. The second line places the line at "1200C 0" which means center the line horizontally at location 1200 (4 inches from the left margin), and position the line vertically at position 0 (0 inches below the top margin).<br />
<br />
[[Music page]] data for many of the score on http://www.musedata.org are available as both [[stage2]] files and [[music page]] files. Using the [[music page]] files as input to ''muse2ps'' will generate better graphical notation results, since the automatically typeset data from the [[stage2]] files has been proofread and adjusted by a human.<br />
<br />
== Options ==<br />
<br />
Below is a list of the options which muse2ps understands. Options are given<br />
as the first (and only) argument to the program, starting with an equals sign (=), then followed by the options in any order, with no spaces between the options. For example, to set the music size to 18 and right-justify the last system on the last page, use the option string =z21j:<br />
cat file.md2 | muse2ps =z21j > file.ps<br />
When using characters which may be parsed by the command-line interpreter, you will have to enclose the option string in single quotes (you can do this all of the time if you are uncertain of the conditions in which they would be required):<br />
cat file.md2 | muse2ps '=z21js^{(..}}^T^title^' | ps2pdf - > file.pdf<br />
<br />
In option strings such as "=c<#>", replace <#> with an integer. <tt>[#]</tt> indicates an optional number.<br />
<br />
{|class="wikitable" cellpadding="0" cellspacing="0" border="0" style="width:100%"<br />
|- {{Style|table header}}<br />
! scope="col" width="100px" align="center"| muse2ps option index<br />
|-<br />
| <div style="column-count:3;-moz-column-count:3;-webkit-column-count:3"><br />
* {{nowrap|{{mopt|c}} compression}}<br />
* {{nowrap|{{mopt|C}} composer}}<br />
* {{nowrap|{{mopt|d}} diagnostics}}<br />
* {{nowrap|{{mopt|D}} dash spacing}}<br />
* {{nowrap|{{mopt|E}} eof insertion}}<br />
* {{nowrap|{{mopt|f}} fill by staff}}<br />
* {{nowrap|{{mopt|F}} fill by system}}<br />
* {{nowrap|{{mopt|g}} grand staff spacing}}<br />
* {{nowrap|{{mopt|G}} group selection}}<br />
* {{nowrap|{{mopt|h}} note space}}<br />
* {{nowrap|{{mopt|i}} indentation flag}}<br />
* {{nowrap|{{mopt|I}} indentation amount}}<br />
* {{nowrap|{{mopt|j}} justification}}<br />
* {{nowrap|{{mopt|k}} display options}}<br />
* {{nowrap|{{mopt|l}} page length}}<br />
* {{nowrap|{{mopt|m}} left margin}}<br />
* {{nowrap|{{mopt|M}} embed stage2 data}}<br />
* {{nowrap|{{mopt|n}} number of systems}}<br />
* {{nowrap|{{mopt|p}} page files input}}<br />
* {{nowrap|{{mopt|P}} embed page files}}<br />
* {{nowrap|{{mopt|Q}} minimum distance duration}}<br />
* {{nowrap|{{mopt|s}} system spine}}<br />
* {{nowrap|{{mopt|S}} title/system space}}<br />
* {{nowrap|{{mopt|t}} top margin}}<br />
* {{nowrap|{{mopt|T}} title}}<br />
* {{nowrap|{{mopt|u}} subtitle}}<br />
* {{nowrap|{{mopt|v}} staff spacing}}<br />
* {{nowrap|{{mopt|w}} system width}}<br />
* {{nowrap|{{mopt|W}} thin barlines}}<br />
* {{nowrap|{{mopt|x}} no suggestions}}<br />
* {{nowrap|{{mopt|X}} no last barline}}<br />
* {{nowrap|{{mopt|y}} no line controls}}<br />
* {{nowrap|{{mopt|Y}} no initial time signature}}<br />
* {{nowrap|{{mopt|z}} music size}}<br />
</div><br />
|}<br />
<br><br />
<br />
See also the Dmuse text file [[Media:muse2ps-options.dm | options.dm]], or the HTML equivalent [[Media:muse2ps-options.html| options.html]] for a brief description of each option.<br />
<br />
{| style="background-color:white" cellpadding="4"<br />
|- valign="top"<br />
| {{anchor|c_option}}<b>=c</b><#>|| Compression factor: This is measured as a percentage of the default. 100 = no compression (100%). Use smaller values to decrease the spacing between notes (allowing fewer pages in the score). Values larger than 100 will expand the distance between notes (increasing the number of pages in the score). This option is useful to force the last system of music to occur at the bottom of a page.<br />
<br />
|- valign="top"<br />
|{{anchor|C_option}}<b>=C</b>^string^ || Display the ''string'' as the composer's name at the top right side of the first page. See <b>=T</b> for the title, and <b>=u</b> for the sub-title. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|d_option}}<b>=d</b><#> || Diagnostics and Error Messages.<br />
bit 0 of #: ON = print error messages<br />
bit 1 of #: ON = print all diagnostics<br />
bit 2 of #: ON = print diagnostics from autoset<br />
bit 3 of #: ON = print diagnostics from mskpage<br />
bit 4 of #: ON = print diagnostics from pspage<br />
no number = 0x01: print error messages<br />
For example, =d31 turns on all error message toggles. This option is useful if the output PostScript data from muse2ps is empty. The messages go to standard error, while the PostScript data goes to standard output. Therefore, you can print the error messages and still save or pipe the PostScript data without the error messages mixing with the output data.<br />
<br />
|- valign="top"<br />
| {{anchor|D_option}}<b>=D</b> || Spacing between dashes. Will override spacing in stage2 files: 0 = use default, >0 = space between dashes (units are dash-length).<br />
<br />
|- valign="top"<br />
| {{anchor|E_option}}<b>=E</b> || <tt>/END</tt> = <tt>/eof</tt>. The muse2ps program allows for multiple parts to be entered from standard input in a single stream of data. Normally the data files representing each part are separated from each other by a line containing only "<tt>/eof</tt>" (lowercase; meaning "End of File"). Separate MuseData [[stage2]] files do not typically end in "<tt>/eof</tt>", but rather, they are required to contain the line "<tt>/END</tt>" (uppercase) to indicate the end of the data. After "<tt>/END</tt>", any textual comments are allowed. With the =E option, you do not need to separate files by "<tt>/eof</tt>", and instead, the next file in the sequence will start on the line coming after "<tt>/END</tt>". Note, however, that you cannot use the =E option if there is any commentary after "<tt>/END</tt>" in a file.<br />
<br />
|- valign="top"<br />
| {{anchor|f_option}}<b>=f</b> || Fill pages to the bottom by proportionally stretching all spacings. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|F_option}}<b>=F</b> || Fill pages to the bottom by adding to the intersystem space only. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|g_option}}<b>=g</b><#>|| Grand staff intra-space measured in multiples of ledger lines times 10. The default is 100, which is 10 ledger lines. Note that this distance reference is different from the =v values which define the distance from the top of one staff to the top of the next staff. For the =g, option, the distance is from the bottom of the top staff to the top of the bottom staff.<br />
<br />
|- valign="top"<br />
| {{anchor|G_option}}<b>=G</b>^group-name^ || Group name to process. The default is "score". Available groups are found on data line 11 at the top of each MuseData [[stage2]] file (excluding any single- or multi-line comments). Other possibilities might be "part" or "data".<br />
<br />
|- valign="top"<br />
| {{anchor|h_option}}<b>=h</b><#> || Alter the minimum allowed space between notes. This is measured as a percentage of the default. 100 = no change (100%).<br />
<br />
|- valign="top"<br />
|{{anchor|i_option}}<b>=i</b><#> || Initial system indentation options flag.<br />
* 0 = use program defaults (set indentation with <tt>=I</tt> option)<br />
* 1 = no indentation of first system of music<br />
* 2 = indent first system, and after every forced system break<br />
<br />
|- valign="top"<br />
| {{anchor|I_option}}<b>=I</b><#> || Specify the indentation amount for the first system in the music. If zero, then default indentation amount will be used. (see the <tt>=i</tt> option for turning off indentation).<br />
<br />
|- valign="top"<br />
|{{anchor|j_option}}<b>=j</b> || Right-justify the last system of the music so that it extends all of the way across the page. The default is NOT to right justify. Right-justification is a recursive process where measures from previous systems may be moved ahead in the score to cause all systems to have approximately the same note density.<br />
<br />
|- valign="top"<br />
| {{anchor|k_option}}<b>=k</b>^0x<tt>#</tt>^ || Display alternative options. Options are stored in a hexadecimal number prefixed with the string "<tt>0x</tt>" (C program-styled hex number). The default values are the 0 bit settings. The meaning of the bits in the hexadecimal number are (from least significant to most significant bit):<br />
<br />
<table cellpadding=0 cellspacing=0><br />
<tr valign=baseline><th>bit</th><td width=10></td><th>meaning</th></tr><br />
<br />
<tr valign=baseline><td>0</td><td></td><td><br />
<b>k-option activation flag</b><br />
* 1: <i>k</i> option is active; read options in more significant bits<br />
* 0: <i>k</i> option is inactive; used to turn off this option as a command-line override<br />
</td></tr><br />
<br />
<tr valign=baseline><td>1</td><td></td><td><br />
<b>Sforzando/rfz flag</b><br />
* 0: display sforzando as sf (rf)<br />
* 1: display sforzando as sfz (rfz)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>2</td><td></td><td><br />
<b>Sub-edit flag</b><br />
* 0: display editorial markup differently from regular data (such as adding brackets around editorial elements)<br />
* 1: do not display editorial data differently from regular data<br />
</td></tr><br />
<br />
<tr valign=baseline><td>3</td><td></td><td><br />
<b>No-editorial flag</b><br />
* 0: display editorial markup data<br />
* 1: do not display editorial markup data<br />
</td></tr><br />
<br />
<tr valign=baseline><td>4</td><td></td><td><br />
<b> Editorial markup in Roman font flag</b><br />
* 0: use cue-size music fonts for editorial marks<br />
* 1: use Times-Roan font for editorial marks: tr, dynamics<br />
</td></tr><br />
<br />
<tr valign=baseline><td>5</td><td></td><td><br />
<b>Ligature flag</b><br />
* 0: do not use ligatures in text<br />
* 1: use ligatures for "ffl", "ffi", "ff", "fl", and "fi"<br />
</td></tr><br />
<br />
<tr valign=baseline><td>6</td><td></td><td><br />
<b>Figured harmony flag</b><br />
* 0: place figured harmony (figured bass) below the staff<br />
* 1: place figured harmony (figured bass) above the staff<br />
</td></tr><br />
<br />
<tr valign=baseline><td>7</td><td></td><td><br />
<b> mheavy4 barline style flag</b><br />
* 0: mheavy4 barline represented by two heavy lines<br />
* 1: mheavy4 barline represented by one thin, one thick, and then another thin line<br />
</td></tr><br />
<br />
<tr valign=baseline><td>8</td><td></td><td><br />
<b>Multi-voice augmentation dot option</b><br />
* 0: allow overstrike of dots in different voices<br />
* 1: do not allow overstrike<br />
</td></tr><br />
<br />
<tr valign=baseline><td>9</td><td></td><td><br />
<b>New key signatures option</b><br />
* 0: don't print a new key signature if it is the same as the previous one on the staff<br />
* 1: print a new key signature even if it repeats the previous key signature on the staff<br />
</td></tr><br />
<br />
<tr valign=baseline><td>10</td><td></td><td><br />
<b>Mixed duration chords</b><br />
* 0: don't allow a mixture of white and black notes in chords<br />
* 1: allow mixture of white and black notes in chords<br />
</td></tr><br />
<br />
<tr valign=baseline><td>11</td><td></td><td><br />
<b>Suppress key signature flag </b><br />
* 0: display key signatures<br />
* 1: suppress printing of the key signature (such as for timpani parts)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>12</td><td></td><td><br />
<b>Editorial slurs flag</b><br />
* 0: all slurs are regular<br />
* 1: <tt>{ }</tt> and <tt>z x</tt> slurs are editorial slurs (dashed slurs)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>13</td><td></td><td><br />
<b>New clef sign flag </b><br />
* 0: large clefs at start of system, cue-size clefs for clef changes<br />
* 1: always use large clefs<br />
</td></tr><br />
<br />
</table><br />
<br />
|- valign="top"<br />
| {{anchor|l_option}}<b>=l</b><#>|| Length of a page. Distance is measured dots, at 300 dots to the inch. Default is 2740 dots. The default starting height is 120 dots. This will not be lowered, but may be raised to accommodate a longer page.<br />
<br />
|- valign="top"<br />
| {{anchor|m_option}}<b>=m</b><#> || Left margin, measured in at 300 dots/inch. The default is 200 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|M_option}}<b>=M</b> || Include the contents of the MuseData source files in the trailer section of the file embedded in PostScript comments (if MuseData [[stage2]] files are used as input.<br />
<br />
|- valign="top"<br />
| {{anchor|n_option}}<b>=n</b><#> || Maximum number of systems on a page. The default is no maximum.<br />
<br />
|- valign="top"<br />
| {{anchor|p_option}}<b>=p</b> || The source is a concatenated set of page specific i-files (also called .mpg files), not a set of MuseData files.<br />
<br />
|- valign="top"<br />
| {{anchor|P_option}}<b>=P</b> || Include listings of the page specific i-files, which are the source of the output PostScript data. Each page is separated.<br />
<br />
|- valign="top"<br />
| {{anchor|Q_option}}<b>=Q</b><#> || Duration which is assigned the minimum distance.<br />
1 = whole notes<br />
... . . .<br />
8 = eighth notes<br />
16 = sixteenth notes, etc.<br />
<br />
|- valign="top"<br />
| {{anchor|s_option}}<b>=s</b>^string^ || Custom left-hand spine. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=s^[(....)][(..)](.)[({..}..)]^<br />
Each dot in the system bracketing string represents one part, with the first dot in the string representing the top staff of the system. If a grand staff is used for any part, then use the colon character (:) for that part. Staves which should be bracketed together are enclosed in square brackets: <tt>[]</tt>. Staves which should be braced together are enclosed in curly braces: <tt>{}</tt>. Staves which should be barred together (barlines connecting between staves) are enclosed in parentheses: <tt>()</tt>. The caret character (^) is used to mark the start and top of the option string. Subsequent options occur immediately after the second caret character with no intervening space.<br />
<br />
|- valign="top"<br />
| {{anchor|S_option}}<b>=S</b><#> || Add extra space between the title and the first system of music: 0 = use default, >0 = lower the first system (units are 1/300th of an inch).<br />
<br />
|- valign="top"<br />
|{{anchor|t_option}}<b>=t</b><#> || Top of page. Default is 120 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|T_option}}<b>=T</b>^string^ || Display the ''string'' as a title at the top of the (first) page. See <b>=u</b> for sub-title, and <b>=C</b> for composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|u_option}}<b>=u</b>^string^ || Display the ''string'' as a sub-title at the top of the (first) page. See <b>=T</b> for the title, and <b>=C</b> for the composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|v_option}}<b>=v</b><#,#,#...#> || Custom spacings. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=v192,192,192,208,192,208,176,176,176,200<br />
The above example setting for the =v option can be used for a system with 8 parts (such as 4 woodwinds, 2 horns, and 4 string instruments). The first seven values describe the spacing between each staff in the system, and the last value is the spacing between systems on the page. The spacing between staves and systems is constant with muse2ps. The spacing values are 1/10th of the distance between two staff lines, and the spacing value is the distance from the top of one staff to the top of the next staff (or the top of the last staff on a system to the top of the staff on the next system for the last value in the list). See the <tt>=g</tt> option for spacing the staves of a grand staff (such as for piano music). When a grand staff is part of a system with more parts, then the distance between the grand staff and the next system is the distance between the top of the bottom staff of the grand-staff pair and the top of the next staff.<br />
<br />
|- valign="top"<br />
| {{anchor|w_option}}<b>=w</b><#> || System width, measured in at 300 dots/inch. The default is 2050 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|W_option}}<b>=W</b>[#] || Thin barline flag. 0 = use regular barlines. 1 = use thin barlines. No number after <tt>=W</tt> means the same as <tt>=W0</tt>.<br />
<br />
|- valign="top"<br />
| {{anchor|x_option}}<b>=x</b> || Defeat all part inclusion suggestions in the data<br />
<br />
|- valign="top"<br />
| {{anchor|X_option}}<b>=X</b>[#] || Leave off the last barline (for short examples). 0 = print last bar, 1 = don't print last bar, <tt>=X</tt> without a number is equivalent to <tt>=X1</tt>. Note: you can add extra staff-line space in the last bar by putting in <tt>irest</tt>s, but you must put <tt>irest</tt>s in all parts, and they must all represent the same note-type (duration). Note also: If the last barline is anything but a regular measure line, it will continue to print.<br />
<br />
|- valign="top"<br />
|{{anchor|y_option}}<b>=y</b> || Defeat all line control suggestions in the data.<br />
<br />
|- valign="top"<br />
|{{anchor|Y_option}}<b>=Y</b><#> || Suppress printing first time signature in score. Used for printing small examples which have a time signature in the data, but none desired in graphical notation. You can also use a time signature in the data of "<tt>T:9/0</tt>" to generate a <i>hidden</i> time signature, and not giving a time signature at the start of a file will result in not time signature being printed. 0 = print initial time signatures (used to override options embedded in data). 1 = suppress first time signature (<tt>=Y</tt> is equivalent to <tt>=Y1</tt>).<br />
<br />
|- valign="top"<br />
| {{anchor|z_option}}<b>=z</b><#> || Music size: choices are 6,14,16,18,21. 14 is the default. This value describes the distance between staff lines in units of 300 dots per inch.<br />
<br />
|}<br />
<br />
== Multi-file input specification ==<br />
<br />
Normally individual MuseData [[stage2]] files contain a single part. These part files are concatenated together and sent via standard input into the muse2ps program. In order for the muse2ps program to be able to segment the separate part files from the original stream the marker "<tt>/eof</tt>" is added after the last line in each file, and the marker "<tt>//</tt>" is ''required'' after the end of all datafile input into muse2ps. <br />
<br />
Typically the last line of a [[stage2]] MuseData file consists of the string "<tt>/END</tt>" (in uppercase), so add the line "<tt>/eof</tt>" (in lowercase) after it: <br />
/END<br />
/eof<br />
<br />
The very last three lines of input to muse2ps should look like this:<br />
<br />
/END<br />
/eof<br />
//<br />
<br />
If you specify the =E option when running muse2ps, the "<tt>/END</tt>" markers will be used to segment the separate part files internally.<br />
<br />
The PERL script [[Media:collatemd2.pl|collatemd2]] (included with the source code to muse2ps) can be used to concatenate multiple [[stage2]] part files into a single input stream for muse2ps. The output of the PERL script can be saved to a file for later processing with muse2ps. In this case the recommended file extension for the multi-file MuseData content is <b>.md2</b> . Here are example uses of [[Media:collatemd2.pl|collatemd2]]:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
You many have to type "<tt>./collatemd2</tt>" instead of "<tt>collatemd2</tt>" if the PERL program is in the current directory and the current directory is not in the command search path. If you download the program from this page, remove the .pl extension when saving (and use a lowercase first letter for the filename). You may have to set the permissions to allow it to be run as a program with the unix command: <tt>chmod 0755 collatemd2</tt>.<br />
<br />
Alternatively, you can save the output from [[Media:collatemd2.pl|collatemd2]] into a file for later use with muse2ps:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] > [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]]<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
When downloading MuseData [[stage2]] files from http://www.musedata.org , the parts are all combined into a single multi-file MuseData file which is the equivalent to the output from [[Media:collatemd2.pl|collatemd2]].<br />
<br />
=== Multiple Music Page files ===<br />
<br />
When concatenating multiple Music Page (MPG) files, separate each file's content with a line with the single capital letter "P" on it. Example of how to do this on the command line, creating a PDF file:<br />
<br />
<source lang="bash"><br />
for i in ??<br />
do<br />
cat $i<br />
echo P<br />
done | muse2ps =p | ps2pdf - - > output.pdf<br />
</source><br />
<br />
N.B.: Probably two slashes also need to be added at the end of the last page; otherwise, it will not print:<br />
<br />
//<br />
<br />
== Color highlighting ==<br />
<br />
A soon-to-be-released update of muse2ps will allow for coloring of notes in the score. This colorization can be used in conjunction with displaying search results, or highlighting notes in an example. <br />
<br />
If you place an "R" character in column 14 for note (or rest) records, That note will be highlighted red. A capital "R" will also highlight the stem of the note, while a lower case "r" will color only the notehead. If multiple colored notes all share a common beam, then that beam is also highlighted.<br />
<br />
The letter "B" can be used in column 14 to color notes blue, and the letter "G" can be used to color notes green. The lowercase versions "r" and "g" can be used to color only the noteheads and not the stems.<br />
<br />
== Embedded options ==<br />
<br />
The <i>muse2ps</i> program can read options sent in the input data stream. Options can be embedded in the input data as single-line comments. In [[stage2]] files, single-line comments start with an at-sign (<tt>@</tt>) in the first column of the line. Following the comment marker comes an option identification string "<tt>muse2psv1</tt>", with "<tt>v1</tt>" being the option version level (currently level 1, and can be used in the future to keep options backwards and forwards compatible. Default options, listed in the previous section describing the options, can be overridden by using the default-option setting method which adds two equal signs in a row, followed by any options. Multiple default-option <br />
comments may occur to prevent the length of the line from getting too long (it is a good idea to limit the length of the line for full backwards compatibility with dmuse and [[stage2]] files, although the current line limit in dmuse/muse2ps is 900 characters).<br />
<br />
Option for specific music sizes can be set by placing the size option between the two equals signs in the option comment. Here is an example option comment header:<br />
<br />
@muse2psv1==z18<br />
@muse2psv1==T^Bach Chorale^u^bwv-277^C^J.S. Bach (1685-1750)^<br />
@muse2psv1=z14=v200,155,155,155j<br />
@muse2psv1=z18=v240,195,195,195j<br />
@muse2psv1=z21=v300,230,230,230j<br />
<br />
The first two lines are default-option settings for all music sizes. The first line sets the default music size to 18 if no size is given on the command line to muse2ps. The second line sets the title, subtitle, and composer fields on the title page. The last three lines set the vertical spacing between staves at various music sizes; the first for size 14, then size 18, and the last line for size 21.<br />
<br />
== ps2pdf options ==<br />
<br />
The default behavior of the ps2pdf program is to assume that the input data is formatted for A4 paper. The default output size for muse2ps is US letter. In order for ps2pdf to generate output pages with the correct dimensions, add the option <tt>-sPAPERSIZE=letter</tt> as an argument to the program:<br />
ps2pdf -sPAPERSIZE=letter<br />
<br />
Another pair of useful options (not needed for output from muse2ps, but useful when adding footers later) embeds the fonts used in the file:<br />
ps2pdf -sPAPERSIZE=letter -dCompatibilityLevel=1.4 -dPDFSETTINGS=/prepress<br />
<br />
For example the Symbol font is not present on the Apple iPad PDF viewer. When using the options in this example, the Symbol font (or the portion used) would be embedded in the file and therefore viewable on an iPad.<br />
<br />
== Creating images ==<br />
<br />
Graphical images can be created in various ways. A good method is to convert PostScript output from muse2ps to a bitmap image with the unix command-line program pstopnm. For smaller examples and converting to other image formats, Imagemagick's convert is another command-line program which is useful. Both pstopnm and convert are often pre-installed on linux computers, and both are available for free on the internet. They should also work with OS X, and can be used in MS Windows using [http://www.cygwin.com cygwin].<br />
<br />
To create an image, pipe the output from muse2ps into pstopnm, and convert to a bitmapped image at 300 dots per inch. Next pipe the resulting image to convert for further processing. In the following example, the image is first trimmed from a full page to just the area which contains the printed music, then the image is resized to 33% of the original size for use on the web, and saved into a PNG file.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -resize '33%' [[Media:scale.png|scale.png]]<br />
<br />
=== Transparent background ===<br />
<br />
Use the options <tt>-negate -alpha copy -negate</tt> to make the background of the image transparent so that it can be displayed on any background color. Here is the example image which was just created with the above command:<br />
<br />
[[Image:scale.png]]<br />
<br />
Notice that the background color of the image is white, which becomes noticeable when placing the image on a non-white background color. Now create an image with a transparent background:<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -negate -alpha copy -negate \<br />
-resize '33%' [[Media:scale-transparent.png|scale.png]]<br />
<center><br />
<table cellspacing=0 cellpadding=3><tr bgcolor=#ffffff><td bgcolor=#4499aa><br />
[[Image:scale-transparent.png]]<br />
</td><td width=10><br />
<td bgcolor=#ffaa44>[[Image:scale-transparent.png]]<br />
</td></tr></table></center><br />
<br />
<br />
=== Images for printed publications ===<br />
<br />
To insert musical examples in a Microsoft or similar word-processing program, do not resize the image, but leave it at the 300 dots per inch size of the original. Then you can rescale the image in the word processor as necessary. This will optimize the quality of the image in the final printout from the word processor.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim [[Media:scale-large.png|scale.png]]<br />
<br />
== Humdrum interface ==<br />
<br />
The muse2ps program can be used in conjunction with the [http://extra.humdrum.org/man/hum2muse hum2muse] program. Here is an example of how to create graphical music notation using the following Humdrum data as an example:<br />
<br />
<table cellspacing=0><tr bgcolor=white valign=top><td><htmlet>beethoven-kern</htmlet></td><br />
<td width=10></td><br />
<td> <br />
<pre><br />
hum2muse file.krn | muse2ps \<br />
| ps2pdf - - > file.png<br />
</pre><br />
[[Image:beethoven-kern.png]] <br />
<br><br />
<br><br />
<br><br />
</td><br />
</tr><br />
</table><br />
<br />
Images can be generated from Humdrum data online by pasting/typing data into the [http://kern.humdrum.org/cgi-bin/kern/kseditor Humdrum online editor]. For example, copy and paste the above Humdrum data into the left black box on the Humdrum online editor page, then click on the red "Generate" button to produce an image of the graphical music using the default settings.<br />
<br />
Here is the intermediate MuseData which is passed between [http://extra.humdrum.org/man/hum2muse hum2muse] and muse2ps: [[Media:beethoven-kern.md2 | beethoven.md2]]. Try copying / pasting<br />
this data into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in the same music notation as seen above.<br />
<br />
== Zbex programs ==<br />
<br />
In the muse2ps source code directory, the sub-directory <tt>zprogs</tt> contains the [[zbex]] programs used to generate the file zfun32.c. Most necessary files needed to create [http://www.ccarh.org/software/muse2ps/muse2ps/zfun32.c zfun32.c] are in that directory, but perhaps not all of them. These programs are not used directly by muse2ps, but are compiled into zbex executable code within zfun32.c. The muse2ps program is essentially a non-interactive version of [[dmuse]] (see http://dmuse.ccarh.org). The [[dmuse]] program is a text editor which also has a built-in [[zbex]] language interpreter and graphical music display capabilities. The interpreter portion of [[dmuse]] has been extracted for non-interactive use in muse2ps.<br />
<br />
== Examples == <br />
<br />
Further examples of MuseData [[stage2]] files converted into graphical music notation with muse2ps can be found on the [[MuseData examples]] page.<br />
<br />
== Feature requests and bug reports ==<br />
<br />
See the page: [[Muse2ps feature requests and bug reports]].</div>Edchttps://wiki.ccarh.org/index.php?title=Muse2ps&diff=10515Muse2ps2021-03-30T18:49:36Z<p>Edc: /* Humdrum interface */</p>
<hr />
<div>__TOC__<br />
<br />
== Overview == <br />
<br />
The <b>muse2ps</b> program is a command-line version of the [[autoset]], [[mskpage]] and [[pspage]] programs which are usually run within the [[dmuse]] editor using the built-in [[zbex language]] interpreter. The ''muse2ps'' program reads MuseData [[stage2]] data or [[page file]] data from standard input and converts them into PostScript data representing graphical musical notation which is sent to standard output. The following diagram illustrates the flow of data through ''muse2ps'':<br />
<br />
<br />
<center><br />
[[File:muse2ps-dataflow.svg]]<br />
</center><br />
<br />
The ''muse2ps'' program can accept two forms of input. By default, the ''muse2ps'' program will read multi-file [[stage2]] data from standard input. MuseData [[stage2]] files contain primarily symbolic musical data with possibly a little bit of formatting information (such as system and page breaks). The ''muse2ps'' program will format this symbolic music internally into [[page files]] which give explicit information about the placement of notes, slurs, beams, dynamics, lyrics, ''etc.'' on each page of music.<br />
<br />
Alternatively, if the <tt>=p</tt> option is given as an [[argument]] to ''muse2ps'', the program can read multi-file [[page files]] directly from standard input. Typically, [[stage2]] files are converted automatically into [[pages files]] and then further processing is done on these [[page files]] in order to produce a final typeset score of the graphical music notation. For example, the [[vskpage]] is used to refine the vertical spacing of staves and systems on a page of music within [[page files]], and [[eskpage]] is used to interactively edit the position of graphical elements within [[page files]].<br />
<br />
The only output from ''muse2ps'' (besides error messages) is PostScript data which describes the graphical music notation in a printable score of the music. This data can be further processed, such as sending directly to a PostScript printer, or converting into PDF files for web distrubution of the notated music. The representation of music notation within the PostScript file is in the form of bit-mapped musical fonts. The musical fonts are designed for use with 300 DPI resolution printers when printed at the native resolution (originally these fonts were designed for [http://en.wikipedia.org/wiki/Printer_Command_Language PCL-based printers]). These fonts have the unique feature of [http://en.wikipedia.org/wiki/Dither dithered] edges on sloped beams to minimize the visual effect of pixel stepping at 300 DPI resolution. Minor notation editing can be done on the PostScript/PDF files in programs such as Adobe Illustrator. If you print via PDF files, you may want to uncheck the page-scaling option in the printing program in order to avoid aliasing artifacts in the hard copy due to changing the intended size of the music on the page. <br />
<br />
Two other forms of data can be embedded within the PostScript output. If the <tt>=M</tt> option is given as an [[argument]] to the ''muse2ps'' program, then the original [[stage2]] data will be stored within comments in the PostScript data. Likewise, if the <tt>=P</tt> option is given, the [[page file]] data will be included in the PostScript output as comments. The [[page file]] data will either come from automatic generation using [[autoset]]/[[mskpage]], or from standard input if you use the <tt>=p</tt> option.<br />
<br />
There are also numerous options which primarily deal with the formatting of [[stage2]] files with the [[autoset]] and [[mskpage]] program components. See the [[#Options| options]] section below for a complete list of the options.<br />
<br />
== Download ==<br />
<br />
The ''muse2ps'' program executables for various operating systems or the source code can be downloaded from the following table. <b>Instructions for setting up the program for use can be found ''[[Muse2ps_installation_instructions| here]]''.</b><br />
<br />
<br />
<center><br />
{{muse2psdownloadtable}}<br />
</center><br />
<br />
== Online ==<br />
<br />
The ''muse2ps'' program can be run online at http://www.musedata.org/mdconverter . If you click on [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icons next to data found on the http://www.musedata.org website, the musical data will be loaded into this online converter from which PostScript, PDF, or PNG images of the music can be generated. <br />
<br />
For example, click on the [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icon on the information page for this [http://www.musedata.org/encodings/bach/bg/chorals/0428/ Bach chorale], then click on the {{keypress|Submit}} button on the converter page to generate a PDF file of the chorale with the default settings. Then try setting some options, such as using "<tt>[(.)(.)(.)(.)]</tt>" for the <b>System spine</b> option to prevent barlines from being drawn between staves in the score.<br />
<br />
You can create your own MuseData content and print with the online converter as well. Copy and paste the following MuseData content: [[Media:beethoven-kern.md2 | beethoven.md2]] into into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in this graphical music notation:<br />
<center><br />
[[Image:beethoven-kern.png]]<br />
</center><br />
<br />
== Command-line examples ==<br />
<br />
The simplest use of ''muse2ps'' is to send it MuseData [[stage2]] files as standard input, and save standard output from the program into a PostScript file:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps > [[Media:bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
<br />
You may need to use "<tt>./muse2ps</tt>" instead of "<tt>muse2ps</tt>" in the above command if the ''muse2ps'' program file is in the current directory, but the current directory is not in your [http://en.wikipedia.org/wiki/PATH_%28variable%29 command search path]. The PostScript output can then be further processed in an external program. Usually it is more convenient to work with the data as a PDF file. The process of converting PostScript to PDF can be done by many methods. For example, Acrobat Distiller or Acrobat Professional will convert PostScript files into PDF files. There are online converters, such as this one: http://www.ps2pdf.com/convert.htm . And on most linux computers you can convert PostScript into PDF files using the [http://pages.cs.wisc.edu/~ghost/doc/gnu/5.50/Ps2pdf.htm ps2pdf] command:<br />
ps2pdf [[Media:Bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
This will create the file [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]] (replacing the .ps extension with a .pdf extention automatically when saving the PDF file). If you click on the PDF file link in the previous sentence, you should see the musical notation for J.S. Bach's Well-Tempered Clavier, Book I, Prelude 1 in C major.<br />
<br />
An alternate method of using ps2pdf to generate a PDF file in a single step in conjunction with ''muse2ps'' would be with this command-line construction:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps | ps2pdf - > [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]]<br />
<br />
=== Last system justification ===<br />
<br />
By default ''muse2ps'' does not right-justify the last system of the music on the last page of the output (as can be seen in [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]]). If you<br />
want to justify the last system, use the <tt>=j</tt> option as an argument to ''muse2ps'':<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =j | ps2pdf - > [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]<br />
The ''muse2ps'' (or more precisely, the internal [[mskpage]] component) will possibly adjust line breaks on one or more of the previous systems in the score in order to fill enough music onto the last system, and then stretch or contract the music on the last system to fit the width between margins exactly. The <tt>=j</tt> option can potentially take significantly more time to process the input data than when it is omitted. The reason for the increased processing time can be seen by comparing [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]] and [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]. In order to right-justify the last system of the music, all systems in the music were recursively re-typeset so that the first system in the music contains only three measures instead of four.<br />
<br />
=== Grand-Staff vertical spacing ===<br />
<br />
The distance between staves in the grand staff (which is used for instruments such as the piano) can be controlled by the =g option. An integer number follows after the letter "g" in the option which specifies the distance between the two staves in terms of 1/10ths of the distance between staff lines. The default value for this option is =g100 which means that the distance between the top line of each staff is 10 staff lines.<br />
<br />
Here is an example of reducing the spacing between the staves to nothing. The =g50 option in this case means that the distance between the top of each staff is 5 staff lines. And since this is the height of a single staff, there will be no space between the two staves:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =g50 | ps2pdf - > [[Media:bach-wtc1p01-g50.pdf|bach-wtc1p01-g50.pdf]]<br />
<br />
<br />
=== Single-staff spacing in a system ===<br />
<br />
A ''system'' is a collection of staves which represent different instruments playing at the same time. The distance between these staves can be controlled with the =v option. Following =v is a list of comma-separated integers (with no intervening spaces). The unit for these numbers is the same as in the =g option: 1/10th of the distance between successive staff lines.<br />
<br />
The default spacing between staves will depend on whether they are supposed to be barred together or not. Here is the default spacing for four staves of a string quartet:<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
=== Using multiple options ===<br />
<br />
In the previous examples, the prelude is printed on two pages, with a single orphan system occurring on the second page. One way to force the music to fit onto a single page is to set the top margin from 120 pixels to 0 pixels with the option <tt>=t0</tt> and the printable length on the page to 3000 pixels (10 inches) with the option <tt>=l3000</tt>. When supplying multiple optional settings to muse2ps, there is only one option string which starts with the equals character (<tt>=</tt>) and is followed by all options with no spaces. Here is an example of using the <tt>=t0</tt>, <tt>=l3000</tt> and <tt>=j</tt> options at the same time, resulting in a single page of music:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =jt0l3000 | ps2pdf - > [[Media:bach-wtc1p01-jt0l3000.pdf|bach-wtc1p01-jt0l3000.pdf]]<br />
The order of the options in the option string is not important, so for example, "<tt>=l3000t0j</tt>" would yield the same results as "<tt>=jt0l3000</tt>".<br />
<br />
Instead of adjusting the vertical margins with the <tt>=t</tt> and <tt>=l</tt> options, you can also decrease the spacing between staves globally on the system. To do this, use the =v option followed by a list of distances between each staff on the system. In this example there are two staves in each system, so one value is expected after "=v". If there were three or more staves, then the vertical spacing values are separated by commas (and no spaces).<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =v160jt300 | ps2pdf - > [[Media:bach-wtc1p01-v160jt300.pdf|bach-wtc1p01-v160jt300.pdf]]<br />
<br />
In the above example, "<tt>=v160</tt>" means make the spacing between staves on the system slightly more than 1/2 an inch; "<tt>=j</tt>" means to right-justify the last system of music; and "<tt>t300</tt>" means add an extra inch to the top margin (the default setting is "<tt>=t120</tt>".<br />
<br />
=== Music size ===<br />
<br />
The ''muse2ps'' program can typeset music in several sizes: 6, 14, 16, 18 and 21. These numbers refer to the pixel count (at 300 DPI) between successive staff lines. For example, here is a zoom-in of music typeset using the size 6 font, where each staff line is one pixel wide, and there are 5 pixels in the gap between lines, making each staff line spaced every 6 pixels and hence the name "size 6":<br />
<br />
<center><br />
[[File:Dmuse-size6.png|411px]]<br />
</center><br />
<br />
<br />
The default size that ''muse2ps'' will typeset music in is size 14. To display the music at other sizes, use the <tt>=z</tt> option followed by the size. Here is the example prelude printed in all sizes (with right-justification of the last system using <tt>=j</tt> also added to the option string):<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z6j&nbsp;&nbsp;| ps2pdf - > [[Media:bach-wtc1p01-z6j.pdf|bach-wtc1p01-z6j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z14j | ps2pdf - > [[Media:bach-wtc1p01-z14j.pdf|bach-wtc1p01-z14j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z16j | ps2pdf - > [[Media:bach-wtc1p01-z16j.pdf|bach-wtc1p01-z16j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z18j | ps2pdf - > [[Media:bach-wtc1p01-z18j.pdf|bach-wtc1p01-z18j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z21j | ps2pdf - > [[Media:bach-wtc1p01-z21j.pdf|bach-wtc1p01-z21j.pdf]]<br />
<br />
Full-scores are typically printed at size 14 (particularly scores with many parts). Parts for performers are typically printed at sizes 18 or 21. Piano music is typically printed at size 16, and Size 18 has dither on two-pixel wide staff lines. The approximate equivalents to point sizes in regular text (multiplying by the factor 72/300 and then multiplying by 3):<br />
<br />
<center><br />
{| class="wikitable" cellpadding="0" cellspacing="0" border="0"<br />
|- |- {{Style|table header}}<br />
! scope="col" align="left" | MuseData music size<br />
! scope="col" align="left" | Staff height (mm)<br />
! score="col" align="left" | Approximate text font size<br />
! score="col" align="left" | Musical application<br />
|-<br />
| 6 || 2.03 mm || 4 pt || none<br />
|-<br />
| 14 || 4.74 mm || 10 pt || full scores<br />
|-<br />
| 16 || 5.42 mm || 11.5 pt || piano music, vocal scores<br />
|-<br />
| 18 || 6.10 mm || 13 pt || instrumental parts<br />
|-<br />
| 21 || 7.11 mm || 15 pt || large-size instrumental parts<br />
|}<br />
</center><br />
<br />
=== Extracting MPG intermediate data ===<br />
<br />
When a MuseData [[stage2]] file is converted into graphical music notation as PostScript output from ''muse2ps'', it will pass through two data transformation steps. The first step is a conversion from [[stage2]] data into non-page-specific [[i-files]] which is accomplished with the [[autoset]] component. Then these "non-page-specific" [[i-files]] are converted into "page-specific" [[page files|i-files]] (or Music Page (MPG) files) which describe the precise position of musical elements on each page of typeset music. This [[music page]] data can be extracted from the program surreptitiously by using the "=P" option. This will cause the [[MPG]] data to be embedded in comments within the PostScript output. Each page of MPG data will be stored in a sequence of comments starting with "<tt>%=BeginMPGData: 1</tt>", where <tt>1</tt> is the data for page one. And each page of MPG data is ended by the comment <tt>"%=EndMPGData: 1"</tt>.<br />
<br />
All MuseData/dmuse related comments in the PostScript output start with the comment marker "%=", so the MPG data can easily be separated from the PostScript content and other irrelevant comments in a manner such as this:<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =P | grep "^%=" > [[Media:Mpg-comments.txt|mpg-comments.txt]]<br />
The [[regular expression]] search string "<tt>^%=</tt>" used in the [http://en.wikipedia.org/wiki/Grep grep] command means extract lines from the input which start with the two characters "<tt>%=</tt>".<br />
<br />
A PERL utility program, called [[Media:unpackmpg.pl|unpackmpg]], for extracting the MPG data from the comments is included with the source code for ''muse2ps'':<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =Pg85jt200l3000 | [[Media:unpackmpg.pl|unpackmpg]] > [[Media:Mpg-comments.mpg|mpg-comments.mpg]]<br />
In the above command the options mean:<br />
* <tt>=P</tt>: Output [[music page]] data.<br />
* <tt>=g85</tt>: Set the distance between the staves in the grand staff to 8.5 staff lines (default is 100, or 10 staff lines).<br />
* <tt>=j</tt>: Right-justify the last system of the music.<br />
* <tt>=t200</tt>: Set the top margin to 2/3 of a inch below the base position.<br />
* <tt>=l3000</tt>: Set the vertical printable region to 10 inches.<br />
<br />
=== Inputting MPG data (adding a title) ===<br />
<br />
The extracted [[music page]] data from the previous section can be edited (such as to add a title) and then can be reprocessed by ''muse2ps'' to generate PostScript output:<br />
cat [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] | muse2ps =p | ps2pdf - > [[Media:Bach-wtc1p01-title.pdf|bach-wtc1p01-title.pdf]]<br />
<br />
In this case the file [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] is the equivalent to the MPG data generated by ''muse2ps'' in the previous section: [[Media:Mpg-comments.mpg|mpg-comments.mpg]], but with these three lines added to generate a title for the first page:<br />
<br />
<pre><br />
X 14<br />
X 46 1200C 0 Well-Tempered Clavier, Book I, Prelude 1 in C major<br />
X 37 1200C 50 BWV 846<br />
</pre><br />
<br />
The first line sets the font indexes relative to music size 14. The second line places the line at "1200C 0" which means center the line horizontally at location 1200 (4 inches from the left margin), and position the line vertically at position 0 (0 inches below the top margin).<br />
<br />
[[Music page]] data for many of the score on http://www.musedata.org are available as both [[stage2]] files and [[music page]] files. Using the [[music page]] files as input to ''muse2ps'' will generate better graphical notation results, since the automatically typeset data from the [[stage2]] files has been proofread and adjusted by a human.<br />
<br />
== Options ==<br />
<br />
Below is a list of the options which muse2ps understands. Options are given<br />
as the first (and only) argument to the program, starting with an equals sign (=), then followed by the options in any order, with no spaces between the options. For example, to set the music size to 18 and right-justify the last system on the last page, use the option string =z21j:<br />
cat file.md2 | muse2ps =z21j > file.ps<br />
When using characters which may be parsed by the command-line interpreter, you will have to enclose the option string in single quotes (you can do this all of the time if you are uncertain of the conditions in which they would be required):<br />
cat file.md2 | muse2ps '=z21js^{(..}}^T^title^' | ps2pdf - > file.pdf<br />
<br />
In option strings such as "=c<#>", replace <#> with an integer. <tt>[#]</tt> indicates an optional number.<br />
<br />
{|class="wikitable" cellpadding="0" cellspacing="0" border="0" style="width:100%"<br />
|- {{Style|table header}}<br />
! scope="col" width="100px" align="center"| muse2ps option index<br />
|-<br />
| <div style="column-count:3;-moz-column-count:3;-webkit-column-count:3"><br />
* {{nowrap|{{mopt|c}} compression}}<br />
* {{nowrap|{{mopt|C}} composer}}<br />
* {{nowrap|{{mopt|d}} diagnostics}}<br />
* {{nowrap|{{mopt|D}} dash spacing}}<br />
* {{nowrap|{{mopt|E}} eof insertion}}<br />
* {{nowrap|{{mopt|f}} fill by staff}}<br />
* {{nowrap|{{mopt|F}} fill by system}}<br />
* {{nowrap|{{mopt|g}} grand staff spacing}}<br />
* {{nowrap|{{mopt|G}} group selection}}<br />
* {{nowrap|{{mopt|h}} note space}}<br />
* {{nowrap|{{mopt|i}} indentation flag}}<br />
* {{nowrap|{{mopt|I}} indentation amount}}<br />
* {{nowrap|{{mopt|j}} justification}}<br />
* {{nowrap|{{mopt|k}} display options}}<br />
* {{nowrap|{{mopt|l}} page length}}<br />
* {{nowrap|{{mopt|m}} left margin}}<br />
* {{nowrap|{{mopt|M}} embed stage2 data}}<br />
* {{nowrap|{{mopt|n}} number of systems}}<br />
* {{nowrap|{{mopt|p}} page files input}}<br />
* {{nowrap|{{mopt|P}} embed page files}}<br />
* {{nowrap|{{mopt|Q}} minimum distance duration}}<br />
* {{nowrap|{{mopt|s}} system spine}}<br />
* {{nowrap|{{mopt|S}} title/system space}}<br />
* {{nowrap|{{mopt|t}} top margin}}<br />
* {{nowrap|{{mopt|T}} title}}<br />
* {{nowrap|{{mopt|u}} subtitle}}<br />
* {{nowrap|{{mopt|v}} staff spacing}}<br />
* {{nowrap|{{mopt|w}} system width}}<br />
* {{nowrap|{{mopt|W}} thin barlines}}<br />
* {{nowrap|{{mopt|x}} no suggestions}}<br />
* {{nowrap|{{mopt|X}} no last barline}}<br />
* {{nowrap|{{mopt|y}} no line controls}}<br />
* {{nowrap|{{mopt|Y}} no initial time signature}}<br />
* {{nowrap|{{mopt|z}} music size}}<br />
</div><br />
|}<br />
<br><br />
<br />
See also the Dmuse text file [[Media:muse2ps-options.dm | options.dm]], or the HTML equivalent [[Media:muse2ps-options.html| options.html]] for a brief description of each option.<br />
<br />
{| style="background-color:white" cellpadding="4"<br />
|- valign="top"<br />
| {{anchor|c_option}}<b>=c</b><#>|| Compression factor: This is measured as a percentage of the default. 100 = no compression (100%). Use smaller values to decrease the spacing between notes (allowing fewer pages in the score). Values larger than 100 will expand the distance between notes (increasing the number of pages in the score). This option is useful to force the last system of music to occur at the bottom of a page.<br />
<br />
|- valign="top"<br />
|{{anchor|C_option}}<b>=C</b>^string^ || Display the ''string'' as the composer's name at the top right side of the first page. See <b>=T</b> for the title, and <b>=u</b> for the sub-title. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|d_option}}<b>=d</b><#> || Diagnostics and Error Messages.<br />
bit 0 of #: ON = print error messages<br />
bit 1 of #: ON = print all diagnostics<br />
bit 2 of #: ON = print diagnostics from autoset<br />
bit 3 of #: ON = print diagnostics from mskpage<br />
bit 4 of #: ON = print diagnostics from pspage<br />
no number = 0x01: print error messages<br />
For example, =d31 turns on all error message toggles. This option is useful if the output PostScript data from muse2ps is empty. The messages go to standard error, while the PostScript data goes to standard output. Therefore, you can print the error messages and still save or pipe the PostScript data without the error messages mixing with the output data.<br />
<br />
|- valign="top"<br />
| {{anchor|D_option}}<b>=D</b> || Spacing between dashes. Will override spacing in stage2 files: 0 = use default, >0 = space between dashes (units are dash-length).<br />
<br />
|- valign="top"<br />
| {{anchor|E_option}}<b>=E</b> || <tt>/END</tt> = <tt>/eof</tt>. The muse2ps program allows for multiple parts to be entered from standard input in a single stream of data. Normally the data files representing each part are separated from each other by a line containing only "<tt>/eof</tt>" (lowercase; meaning "End of File"). Separate MuseData [[stage2]] files do not typically end in "<tt>/eof</tt>", but rather, they are required to contain the line "<tt>/END</tt>" (uppercase) to indicate the end of the data. After "<tt>/END</tt>", any textual comments are allowed. With the =E option, you do not need to separate files by "<tt>/eof</tt>", and instead, the next file in the sequence will start on the line coming after "<tt>/END</tt>". Note, however, that you cannot use the =E option if there is any commentary after "<tt>/END</tt>" in a file.<br />
<br />
|- valign="top"<br />
| {{anchor|f_option}}<b>=f</b> || Fill pages to the bottom by proportionally stretching all spacings. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|F_option}}<b>=F</b> || Fill pages to the bottom by adding to the intersystem space only. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|g_option}}<b>=g</b><#>|| Grand staff intra-space measured in multiples of ledger lines times 10. The default is 100, which is 10 ledger lines. Note that this distance reference is different from the =v values which define the distance from the top of one staff to the top of the next staff. For the =g, option, the distance is from the bottom of the top staff to the top of the bottom staff.<br />
<br />
|- valign="top"<br />
| {{anchor|G_option}}<b>=G</b>^group-name^ || Group name to process. The default is "score". Available groups are found on data line 11 at the top of each MuseData [[stage2]] file (excluding any single- or multi-line comments). Other possibilities might be "part" or "data".<br />
<br />
|- valign="top"<br />
| {{anchor|h_option}}<b>=h</b><#> || Alter the minimum allowed space between notes. This is measured as a percentage of the default. 100 = no change (100%).<br />
<br />
|- valign="top"<br />
|{{anchor|i_option}}<b>=i</b><#> || Initial system indentation options flag.<br />
* 0 = use program defaults (set indentation with <tt>=I</tt> option)<br />
* 1 = no indentation of first system of music<br />
* 2 = indent first system, and after every forced system break<br />
<br />
|- valign="top"<br />
| {{anchor|I_option}}<b>=I</b><#> || Specify the indentation amount for the first system in the music. If zero, then default indentation amount will be used. (see the <tt>=i</tt> option for turning off indentation).<br />
<br />
|- valign="top"<br />
|{{anchor|j_option}}<b>=j</b> || Right-justify the last system of the music so that it extends all of the way across the page. The default is NOT to right justify. Right-justification is a recursive process where measures from previous systems may be moved ahead in the score to cause all systems to have approximately the same note density.<br />
<br />
|- valign="top"<br />
| {{anchor|k_option}}<b>=k</b>^0x<tt>#</tt>^ || Display alternative options. Options are stored in a hexadecimal number prefixed with the string "<tt>0x</tt>" (C program-styled hex number). The default values are the 0 bit settings. The meaning of the bits in the hexadecimal number are (from least significant to most significant bit):<br />
<br />
<table cellpadding=0 cellspacing=0><br />
<tr valign=baseline><th>bit</th><td width=10></td><th>meaning</th></tr><br />
<br />
<tr valign=baseline><td>0</td><td></td><td><br />
<b>k-option activation flag</b><br />
* 1: <i>k</i> option is active; read options in more significant bits<br />
* 0: <i>k</i> option is inactive; used to turn off this option as a command-line override<br />
</td></tr><br />
<br />
<tr valign=baseline><td>1</td><td></td><td><br />
<b>Sforzando/rfz flag</b><br />
* 0: display sforzando as sf (rf)<br />
* 1: display sforzando as sfz (rfz)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>2</td><td></td><td><br />
<b>Sub-edit flag</b><br />
* 0: display editorial markup differently from regular data (such as adding brackets around editorial elements)<br />
* 1: do not display editorial data differently from regular data<br />
</td></tr><br />
<br />
<tr valign=baseline><td>3</td><td></td><td><br />
<b>No-editorial flag</b><br />
* 0: display editorial markup data<br />
* 1: do not display editorial markup data<br />
</td></tr><br />
<br />
<tr valign=baseline><td>4</td><td></td><td><br />
<b> Editorial markup in Roman font flag</b><br />
* 0: use cue-size music fonts for editorial marks<br />
* 1: use Times-Roan font for editorial marks: tr, dynamics<br />
</td></tr><br />
<br />
<tr valign=baseline><td>5</td><td></td><td><br />
<b>Ligature flag</b><br />
* 0: do not use ligatures in text<br />
* 1: use ligatures for "ffl", "ffi", "ff", "fl", and "fi"<br />
</td></tr><br />
<br />
<tr valign=baseline><td>6</td><td></td><td><br />
<b>Figured harmony flag</b><br />
* 0: place figured harmony (figured bass) below the staff<br />
* 1: place figured harmony (figured bass) above the staff<br />
</td></tr><br />
<br />
<tr valign=baseline><td>7</td><td></td><td><br />
<b> mheavy4 barline style flag</b><br />
* 0: mheavy4 barline represented by two heavy lines<br />
* 1: mheavy4 barline represented by one thin, one thick, and then another thin line<br />
</td></tr><br />
<br />
<tr valign=baseline><td>8</td><td></td><td><br />
<b>Multi-voice augmentation dot option</b><br />
* 0: allow overstrike of dots in different voices<br />
* 1: do not allow overstrike<br />
</td></tr><br />
<br />
<tr valign=baseline><td>9</td><td></td><td><br />
<b>New key signatures option</b><br />
* 0: don't print a new key signature if it is the same as the previous one on the staff<br />
* 1: print a new key signature even if it repeats the previous key signature on the staff<br />
</td></tr><br />
<br />
<tr valign=baseline><td>10</td><td></td><td><br />
<b>Mixed duration chords</b><br />
* 0: don't allow a mixture of white and black notes in chords<br />
* 1: allow mixture of white and black notes in chords<br />
</td></tr><br />
<br />
<tr valign=baseline><td>11</td><td></td><td><br />
<b>Suppress key signature flag </b><br />
* 0: display key signatures<br />
* 1: suppress printing of the key signature (such as for timpani parts)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>12</td><td></td><td><br />
<b>Editorial slurs flag</b><br />
* 0: all slurs are regular<br />
* 1: <tt>{ }</tt> and <tt>z x</tt> slurs are editorial slurs (dashed slurs)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>13</td><td></td><td><br />
<b>New clef sign flag </b><br />
* 0: large clefs at start of system, cue-size clefs for clef changes<br />
* 1: always use large clefs<br />
</td></tr><br />
<br />
</table><br />
<br />
|- valign="top"<br />
| {{anchor|l_option}}<b>=l</b><#>|| Length of a page. Distance is measured dots, at 300 dots to the inch. Default is 2740 dots. The default starting height is 120 dots. This will not be lowered, but may be raised to accommodate a longer page.<br />
<br />
|- valign="top"<br />
| {{anchor|m_option}}<b>=m</b><#> || Left margin, measured in at 300 dots/inch. The default is 200 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|M_option}}<b>=M</b> || Include the contents of the MuseData source files in the trailer section of the file embedded in PostScript comments (if MuseData [[stage2]] files are used as input.<br />
<br />
|- valign="top"<br />
| {{anchor|n_option}}<b>=n</b><#> || Maximum number of systems on a page. The default is no maximum.<br />
<br />
|- valign="top"<br />
| {{anchor|p_option}}<b>=p</b> || The source is a concatenated set of page specific i-files (also called .mpg files), not a set of MuseData files.<br />
<br />
|- valign="top"<br />
| {{anchor|P_option}}<b>=P</b> || Include listings of the page specific i-files, which are the source of the output PostScript data. Each page is separated.<br />
<br />
|- valign="top"<br />
| {{anchor|Q_option}}<b>=Q</b><#> || Duration which is assigned the minimum distance.<br />
1 = whole notes<br />
... . . .<br />
8 = eighth notes<br />
16 = sixteenth notes, etc.<br />
<br />
|- valign="top"<br />
| {{anchor|s_option}}<b>=s</b>^string^ || Custom left-hand spine. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=s^[(....)][(..)](.)[({..}..)]^<br />
Each dot in the system bracketing string represents one part, with the first dot in the string representing the top staff of the system. If a grand staff is used for any part, then use the colon character (:) for that part. Staves which should be bracketed together are enclosed in square brackets: <tt>[]</tt>. Staves which should be braced together are enclosed in curly braces: <tt>{}</tt>. Staves which should be barred together (barlines connecting between staves) are enclosed in parentheses: <tt>()</tt>. The caret character (^) is used to mark the start and top of the option string. Subsequent options occur immediately after the second caret character with no intervening space.<br />
<br />
|- valign="top"<br />
| {{anchor|S_option}}<b>=S</b><#> || Add extra space between the title and the first system of music: 0 = use default, >0 = lower the first system (units are 1/300th of an inch).<br />
<br />
|- valign="top"<br />
|{{anchor|t_option}}<b>=t</b><#> || Top of page. Default is 120 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|T_option}}<b>=T</b>^string^ || Display the ''string'' as a title at the top of the (first) page. See <b>=u</b> for sub-title, and <b>=C</b> for composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|u_option}}<b>=u</b>^string^ || Display the ''string'' as a sub-title at the top of the (first) page. See <b>=T</b> for the title, and <b>=C</b> for the composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|v_option}}<b>=v</b><#,#,#...#> || Custom spacings. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=v192,192,192,208,192,208,176,176,176,200<br />
The above example setting for the =v option can be used for a system with 8 parts (such as 4 woodwinds, 2 horns, and 4 string instruments). The first seven values describe the spacing between each staff in the system, and the last value is the spacing between systems on the page. The spacing between staves and systems is constant with muse2ps. The spacing values are 1/10th of the distance between two staff lines, and the spacing value is the distance from the top of one staff to the top of the next staff (or the top of the last staff on a system to the top of the staff on the next system for the last value in the list). See the <tt>=g</tt> option for spacing the staves of a grand staff (such as for piano music). When a grand staff is part of a system with more parts, then the distance between the grand staff and the next system is the distance between the top of the bottom staff of the grand-staff pair and the top of the next staff.<br />
<br />
|- valign="top"<br />
| {{anchor|w_option}}<b>=w</b><#> || System width, measured in at 300 dots/inch. The default is 2050 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|W_option}}<b>=W</b>[#] || Thin barline flag. 0 = use regular barlines. 1 = use thin barlines. No number after <tt>=W</tt> means the same as <tt>=W0</tt>.<br />
<br />
|- valign="top"<br />
| {{anchor|x_option}}<b>=x</b> || Defeat all part inclusion suggestions in the data<br />
<br />
|- valign="top"<br />
| {{anchor|X_option}}<b>=X</b>[#] || Leave off the last barline (for short examples). 0 = print last bar, 1 = don't print last bar, <tt>=X</tt> without a number is equivalent to <tt>=X1</tt>. Note: you can add extra staff-line space in the last bar by putting in <tt>irest</tt>s, but you must put <tt>irest</tt>s in all parts, and they must all represent the same note-type (duration). Note also: If the last barline is anything but a regular measure line, it will continue to print.<br />
<br />
|- valign="top"<br />
|{{anchor|y_option}}<b>=y</b> || Defeat all line control suggestions in the data.<br />
<br />
|- valign="top"<br />
|{{anchor|Y_option}}<b>=Y</b><#> || Suppress printing first time signature in score. Used for printing small examples which have a time signature in the data, but none desired in graphical notation. You can also use a time signature in the data of "<tt>T:9/0</tt>" to generate a <i>hidden</i> time signature, and not giving a time signature at the start of a file will result in not time signature being printed. 0 = print initial time signatures (used to override options embedded in data). 1 = suppress first time signature (<tt>=Y</tt> is equivalent to <tt>=Y1</tt>).<br />
<br />
|- valign="top"<br />
| {{anchor|z_option}}<b>=z</b><#> || Music size: choices are 6,14,16,18,21. 14 is the default. This value describes the distance between staff lines in units of 300 dots per inch.<br />
<br />
|}<br />
<br />
== Multi-file input specification ==<br />
<br />
Normally individual MuseData [[stage2]] files contain a single part. These part files are concatenated together and sent via standard input into the muse2ps program. In order for the muse2ps program to be able to segment the separate part files from the original stream the marker "<tt>/eof</tt>" is added after the last line in each file, and the marker "<tt>//</tt>" is ''required'' after the end of all datafile input into muse2ps. <br />
<br />
Typically the last line of a [[stage2]] MuseData file consists of the string "<tt>/END</tt>" (in uppercase), so add the line "<tt>/eof</tt>" (in lowercase) after it: <br />
/END<br />
/eof<br />
<br />
The very last three lines of input to muse2ps should look like this:<br />
<br />
/END<br />
/eof<br />
//<br />
<br />
If you specify the =E option when running muse2ps, the "<tt>/END</tt>" markers will be used to segment the separate part files internally.<br />
<br />
The PERL script [[Media:collatemd2.pl|collatemd2]] (included with the source code to muse2ps) can be used to concatenate multiple [[stage2]] part files into a single input stream for muse2ps. The output of the PERL script can be saved to a file for later processing with muse2ps. In this case the recommended file extension for the multi-file MuseData content is <b>.md2</b> . Here are example uses of [[Media:collatemd2.pl|collatemd2]]:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
You many have to type "<tt>./collatemd2</tt>" instead of "<tt>collatemd2</tt>" if the PERL program is in the current directory and the current directory is not in the command search path. If you download the program from this page, remove the .pl extension when saving (and use a lowercase first letter for the filename). You may have to set the permissions to allow it to be run as a program with the unix command: <tt>chmod 0755 collatemd2</tt>.<br />
<br />
Alternatively, you can save the output from [[Media:collatemd2.pl|collatemd2]] into a file for later use with muse2ps:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] > [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]]<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
When downloading MuseData [[stage2]] files from http://www.musedata.org , the parts are all combined into a single multi-file MuseData file which is the equivalent to the output from [[Media:collatemd2.pl|collatemd2]].<br />
<br />
=== Multiple Music Page files ===<br />
<br />
When concatenating multiple Music Page (MPG) files, separate each file's content with a line with the single capital letter "P" on it. Example of how to do this on the command line, creating a PDF file:<br />
<br />
<source lang="bash"><br />
for i in ??<br />
do<br />
cat $i<br />
echo P<br />
done | muse2ps =p | ps2pdf - - > output.pdf<br />
</source><br />
<br />
N.B.: Probably two slashes also need to be added at the end of the last page; otherwise, it will not print:<br />
<br />
//<br />
<br />
== Color highlighting ==<br />
<br />
A soon-to-be-released update of muse2ps will allow for coloring of notes in the score. This colorization can be used in conjunction with displaying search results, or highlighting notes in an example. <br />
<br />
If you place an "R" character in column 14 for note (or rest) records, That note will be highlighted red. A capital "R" will also highlight the stem of the note, while a lower case "r" will color only the notehead. If multiple colored notes all share a common beam, then that beam is also highlighted.<br />
<br />
The letter "B" can be used in column 14 to color notes blue, and the letter "G" can be used to color notes green. The lowercase versions "r" and "g" can be used to color only the noteheads and not the stems.<br />
<br />
== Embedded options ==<br />
<br />
The <i>muse2ps</i> program can read options sent in the input data stream. Options can be embedded in the input data as single-line comments. In [[stage2]] files, single-line comments start with an at-sign (<tt>@</tt>) in the first column of the line. Following the comment marker comes an option identification string "<tt>muse2psv1</tt>", with "<tt>v1</tt>" being the option version level (currently level 1, and can be used in the future to keep options backwards and forwards compatible. Default options, listed in the previous section describing the options, can be overridden by using the default-option setting method which adds two equal signs in a row, followed by any options. Multiple default-option <br />
comments may occur to prevent the length of the line from getting too long (it is a good idea to limit the length of the line for full backwards compatibility with dmuse and [[stage2]] files, although the current line limit in dmuse/muse2ps is 900 characters).<br />
<br />
Option for specific music sizes can be set by placing the size option between the two equals signs in the option comment. Here is an example option comment header:<br />
<br />
@muse2psv1==z18<br />
@muse2psv1==T^Bach Chorale^u^bwv-277^C^J.S. Bach (1685-1750)^<br />
@muse2psv1=z14=v200,155,155,155j<br />
@muse2psv1=z18=v240,195,195,195j<br />
@muse2psv1=z21=v300,230,230,230j<br />
<br />
The first two lines are default-option settings for all music sizes. The first line sets the default music size to 18 if no size is given on the command line to muse2ps. The second line sets the title, subtitle, and composer fields on the title page. The last three lines set the vertical spacing between staves at various music sizes; the first for size 14, then size 18, and the last line for size 21.<br />
<br />
== ps2pdf options ==<br />
<br />
The default behavior of the ps2pdf program is to assume that the input data is formatted for A4 paper. The default output size for muse2ps is US letter. In order for ps2pdf to generate output pages with the correct dimensions, add the option <tt>-sPAPERSIZE=letter</tt> as an argument to the program:<br />
ps2pdf -sPAPERSIZE=letter<br />
<br />
Another pair of useful options (not needed for output from muse2ps, but useful when adding footers later) embeds the fonts used in the file:<br />
ps2pdf -sPAPERSIZE=letter -dCompatibilityLevel=1.4 -dPDFSETTINGS=/prepress<br />
<br />
For example the Symbol font is not present on the Apple iPad PDF viewer. When using the options in this example, the Symbol font (or the portion used) would be embedded in the file and therefore viewable on an iPad.<br />
<br />
== Creating images ==<br />
<br />
Graphical images can be created in various ways. A good method is to convert PostScript output from muse2ps to a bitmap image with the unix command-line program pstopnm. For smaller examples and converting to other image formats, Imagemagick's convert is another command-line program which is useful. Both pstopnm and convert are often pre-installed on linux computers, and both are available for free on the internet. They should also work with OS X, and can be used in MS Windows using [http://www.cygwin.com cygwin].<br />
<br />
To create an image, pipe the output from muse2ps into pstopnm, and convert to a bitmapped image at 300 dots per inch. Next pipe the resulting image to convert for further processing. In the following example, the image is first trimmed from a full page to just the area which contains the printed music, then the image is resized to 33% of the original size for use on the web, and saved into a PNG file.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -resize '33%' [[Media:scale.png|scale.png]]<br />
<br />
=== Transparent background ===<br />
<br />
Use the options <tt>-negate -alpha copy -negate</tt> to make the background of the image transparent so that it can be displayed on any background color. Here is the example image which was just created with the above command:<br />
<br />
[[Image:scale.png]]<br />
<br />
Notice that the background color of the image is white, which becomes noticeable when placing the image on a non-white background color. Now create an image with a transparent background:<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -negate -alpha copy -negate \<br />
-resize '33%' [[Media:scale-transparent.png|scale.png]]<br />
<center><br />
<table cellspacing=0 cellpadding=3><tr bgcolor=#ffffff><td bgcolor=#4499aa><br />
[[Image:scale-transparent.png]]<br />
</td><td width=10><br />
<td bgcolor=#ffaa44>[[Image:scale-transparent.png]]<br />
</td></tr></table></center><br />
<br />
<br />
=== Images for printed publications ===<br />
<br />
To insert musical examples in a Microsoft or similar word-processing program, do not resize the image, but leave it at the 300 dots per inch size of the original. Then you can rescale the image in the word processor as necessary. This will optimize the quality of the image in the final printout from the word processor.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim [[Media:scale-large.png|scale.png]]<br />
<br />
== Humdrum interface ==<br />
<br />
The muse2ps program can be used in conjunction with the [http://extra.humdrum.org/man/hum2muse hum2muse] program. Here is an example of how to create graphical music notation using the following Humdrum data as an example:<br />
<br />
<table cellspacing=0><tr bgcolor=white valign=top><td><htmlet>beethoven-kern</htmlet></td><br />
<td width=10></td><br />
<td> <br />
<pre><br />
hum2muse file.krn | muse2ps \<br />
| ps2pdf - - > file.png<br />
</pre><br />
[[Image:beethoven-kern.png]] <br />
<br><br />
<br><br />
<br><br />
</td><br />
</tr><br />
</table><br />
<br />
Images can be generated from Humdrum data online by pasting/typing data into the [http://kern.humdrum.org/cgi-bin/kern/kseditor Humdrum online editor]. For example, copy and paste the above Humdrum data into the left black box on the Humdrum online editor page, then click on the red "Generate" button to produce an image of the graphical music using the default settings.<br />
<br />
Here is the intermediate MuseData which is passed between [http://extra.humdrum.org/man/hum2muse hum2muse] and muse2ps: [[Media:beethoven-kern.md2 | beethoven.md2]]. Try copying / pasting<br />
this data into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in the same music notation as seen above.<br />
<br />
== Zbex programs ==<br />
<br />
In the muse2ps source code directory, the sub-directory <tt>zprogs</tt> contains the [[zbex]] programs used to generate the file zfun32.c. Most necessary files needed to create [http://www.ccarh.org/software/muse2ps/muse2ps/zfun32.c zfun32.c] are in that directory, but perhaps not all of them. These programs are not used directly by muse2ps, but are compiled into zbex executable code within zfun32.c. The muse2ps is essentially a non-interactive version of [[dmuse]] (see http://dmuse.ccarh.org). The [[dmuse]] program is a text editor which also has a built-in [[zbex]] language interpreter and graphical music display capabilities. The interpreter portion of [[dmuse]] has been extracted for non-interactive use in muse2ps.<br />
<br />
== Examples == <br />
<br />
Further examples of MuseData [[stage2]] files converted into graphical music notation with muse2ps can be found on the [[MuseData examples]] page.<br />
<br />
== Feature requests and bug reports ==<br />
<br />
See the page: [[Muse2ps feature requests and bug reports]].</div>Edchttps://wiki.ccarh.org/index.php?title=Muse2ps&diff=10514Muse2ps2021-03-30T18:31:11Z<p>Edc: /* Creating images */</p>
<hr />
<div>__TOC__<br />
<br />
== Overview == <br />
<br />
The <b>muse2ps</b> program is a command-line version of the [[autoset]], [[mskpage]] and [[pspage]] programs which are usually run within the [[dmuse]] editor using the built-in [[zbex language]] interpreter. The ''muse2ps'' program reads MuseData [[stage2]] data or [[page file]] data from standard input and converts them into PostScript data representing graphical musical notation which is sent to standard output. The following diagram illustrates the flow of data through ''muse2ps'':<br />
<br />
<br />
<center><br />
[[File:muse2ps-dataflow.svg]]<br />
</center><br />
<br />
The ''muse2ps'' program can accept two forms of input. By default, the ''muse2ps'' program will read multi-file [[stage2]] data from standard input. MuseData [[stage2]] files contain primarily symbolic musical data with possibly a little bit of formatting information (such as system and page breaks). The ''muse2ps'' program will format this symbolic music internally into [[page files]] which give explicit information about the placement of notes, slurs, beams, dynamics, lyrics, ''etc.'' on each page of music.<br />
<br />
Alternatively, if the <tt>=p</tt> option is given as an [[argument]] to ''muse2ps'', the program can read multi-file [[page files]] directly from standard input. Typically, [[stage2]] files are converted automatically into [[pages files]] and then further processing is done on these [[page files]] in order to produce a final typeset score of the graphical music notation. For example, the [[vskpage]] is used to refine the vertical spacing of staves and systems on a page of music within [[page files]], and [[eskpage]] is used to interactively edit the position of graphical elements within [[page files]].<br />
<br />
The only output from ''muse2ps'' (besides error messages) is PostScript data which describes the graphical music notation in a printable score of the music. This data can be further processed, such as sending directly to a PostScript printer, or converting into PDF files for web distrubution of the notated music. The representation of music notation within the PostScript file is in the form of bit-mapped musical fonts. The musical fonts are designed for use with 300 DPI resolution printers when printed at the native resolution (originally these fonts were designed for [http://en.wikipedia.org/wiki/Printer_Command_Language PCL-based printers]). These fonts have the unique feature of [http://en.wikipedia.org/wiki/Dither dithered] edges on sloped beams to minimize the visual effect of pixel stepping at 300 DPI resolution. Minor notation editing can be done on the PostScript/PDF files in programs such as Adobe Illustrator. If you print via PDF files, you may want to uncheck the page-scaling option in the printing program in order to avoid aliasing artifacts in the hard copy due to changing the intended size of the music on the page. <br />
<br />
Two other forms of data can be embedded within the PostScript output. If the <tt>=M</tt> option is given as an [[argument]] to the ''muse2ps'' program, then the original [[stage2]] data will be stored within comments in the PostScript data. Likewise, if the <tt>=P</tt> option is given, the [[page file]] data will be included in the PostScript output as comments. The [[page file]] data will either come from automatic generation using [[autoset]]/[[mskpage]], or from standard input if you use the <tt>=p</tt> option.<br />
<br />
There are also numerous options which primarily deal with the formatting of [[stage2]] files with the [[autoset]] and [[mskpage]] program components. See the [[#Options| options]] section below for a complete list of the options.<br />
<br />
== Download ==<br />
<br />
The ''muse2ps'' program executables for various operating systems or the source code can be downloaded from the following table. <b>Instructions for setting up the program for use can be found ''[[Muse2ps_installation_instructions| here]]''.</b><br />
<br />
<br />
<center><br />
{{muse2psdownloadtable}}<br />
</center><br />
<br />
== Online ==<br />
<br />
The ''muse2ps'' program can be run online at http://www.musedata.org/mdconverter . If you click on [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icons next to data found on the http://www.musedata.org website, the musical data will be loaded into this online converter from which PostScript, PDF, or PNG images of the music can be generated. <br />
<br />
For example, click on the [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icon on the information page for this [http://www.musedata.org/encodings/bach/bg/chorals/0428/ Bach chorale], then click on the {{keypress|Submit}} button on the converter page to generate a PDF file of the chorale with the default settings. Then try setting some options, such as using "<tt>[(.)(.)(.)(.)]</tt>" for the <b>System spine</b> option to prevent barlines from being drawn between staves in the score.<br />
<br />
You can create your own MuseData content and print with the online converter as well. Copy and paste the following MuseData content: [[Media:beethoven-kern.md2 | beethoven.md2]] into into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in this graphical music notation:<br />
<center><br />
[[Image:beethoven-kern.png]]<br />
</center><br />
<br />
== Command-line examples ==<br />
<br />
The simplest use of ''muse2ps'' is to send it MuseData [[stage2]] files as standard input, and save standard output from the program into a PostScript file:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps > [[Media:bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
<br />
You may need to use "<tt>./muse2ps</tt>" instead of "<tt>muse2ps</tt>" in the above command if the ''muse2ps'' program file is in the current directory, but the current directory is not in your [http://en.wikipedia.org/wiki/PATH_%28variable%29 command search path]. The PostScript output can then be further processed in an external program. Usually it is more convenient to work with the data as a PDF file. The process of converting PostScript to PDF can be done by many methods. For example, Acrobat Distiller or Acrobat Professional will convert PostScript files into PDF files. There are online converters, such as this one: http://www.ps2pdf.com/convert.htm . And on most linux computers you can convert PostScript into PDF files using the [http://pages.cs.wisc.edu/~ghost/doc/gnu/5.50/Ps2pdf.htm ps2pdf] command:<br />
ps2pdf [[Media:Bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
This will create the file [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]] (replacing the .ps extension with a .pdf extention automatically when saving the PDF file). If you click on the PDF file link in the previous sentence, you should see the musical notation for J.S. Bach's Well-Tempered Clavier, Book I, Prelude 1 in C major.<br />
<br />
An alternate method of using ps2pdf to generate a PDF file in a single step in conjunction with ''muse2ps'' would be with this command-line construction:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps | ps2pdf - > [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]]<br />
<br />
=== Last system justification ===<br />
<br />
By default ''muse2ps'' does not right-justify the last system of the music on the last page of the output (as can be seen in [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]]). If you<br />
want to justify the last system, use the <tt>=j</tt> option as an argument to ''muse2ps'':<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =j | ps2pdf - > [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]<br />
The ''muse2ps'' (or more precisely, the internal [[mskpage]] component) will possibly adjust line breaks on one or more of the previous systems in the score in order to fill enough music onto the last system, and then stretch or contract the music on the last system to fit the width between margins exactly. The <tt>=j</tt> option can potentially take significantly more time to process the input data than when it is omitted. The reason for the increased processing time can be seen by comparing [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]] and [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]. In order to right-justify the last system of the music, all systems in the music were recursively re-typeset so that the first system in the music contains only three measures instead of four.<br />
<br />
=== Grand-Staff vertical spacing ===<br />
<br />
The distance between staves in the grand staff (which is used for instruments such as the piano) can be controlled by the =g option. An integer number follows after the letter "g" in the option which specifies the distance between the two staves in terms of 1/10ths of the distance between staff lines. The default value for this option is =g100 which means that the distance between the top line of each staff is 10 staff lines.<br />
<br />
Here is an example of reducing the spacing between the staves to nothing. The =g50 option in this case means that the distance between the top of each staff is 5 staff lines. And since this is the height of a single staff, there will be no space between the two staves:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =g50 | ps2pdf - > [[Media:bach-wtc1p01-g50.pdf|bach-wtc1p01-g50.pdf]]<br />
<br />
<br />
=== Single-staff spacing in a system ===<br />
<br />
A ''system'' is a collection of staves which represent different instruments playing at the same time. The distance between these staves can be controlled with the =v option. Following =v is a list of comma-separated integers (with no intervening spaces). The unit for these numbers is the same as in the =g option: 1/10th of the distance between successive staff lines.<br />
<br />
The default spacing between staves will depend on whether they are supposed to be barred together or not. Here is the default spacing for four staves of a string quartet:<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
=== Using multiple options ===<br />
<br />
In the previous examples, the prelude is printed on two pages, with a single orphan system occurring on the second page. One way to force the music to fit onto a single page is to set the top margin from 120 pixels to 0 pixels with the option <tt>=t0</tt> and the printable length on the page to 3000 pixels (10 inches) with the option <tt>=l3000</tt>. When supplying multiple optional settings to muse2ps, there is only one option string which starts with the equals character (<tt>=</tt>) and is followed by all options with no spaces. Here is an example of using the <tt>=t0</tt>, <tt>=l3000</tt> and <tt>=j</tt> options at the same time, resulting in a single page of music:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =jt0l3000 | ps2pdf - > [[Media:bach-wtc1p01-jt0l3000.pdf|bach-wtc1p01-jt0l3000.pdf]]<br />
The order of the options in the option string is not important, so for example, "<tt>=l3000t0j</tt>" would yield the same results as "<tt>=jt0l3000</tt>".<br />
<br />
Instead of adjusting the vertical margins with the <tt>=t</tt> and <tt>=l</tt> options, you can also decrease the spacing between staves globally on the system. To do this, use the =v option followed by a list of distances between each staff on the system. In this example there are two staves in each system, so one value is expected after "=v". If there were three or more staves, then the vertical spacing values are separated by commas (and no spaces).<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =v160jt300 | ps2pdf - > [[Media:bach-wtc1p01-v160jt300.pdf|bach-wtc1p01-v160jt300.pdf]]<br />
<br />
In the above example, "<tt>=v160</tt>" means make the spacing between staves on the system slightly more than 1/2 an inch; "<tt>=j</tt>" means to right-justify the last system of music; and "<tt>t300</tt>" means add an extra inch to the top margin (the default setting is "<tt>=t120</tt>".<br />
<br />
=== Music size ===<br />
<br />
The ''muse2ps'' program can typeset music in several sizes: 6, 14, 16, 18 and 21. These numbers refer to the pixel count (at 300 DPI) between successive staff lines. For example, here is a zoom-in of music typeset using the size 6 font, where each staff line is one pixel wide, and there are 5 pixels in the gap between lines, making each staff line spaced every 6 pixels and hence the name "size 6":<br />
<br />
<center><br />
[[File:Dmuse-size6.png|411px]]<br />
</center><br />
<br />
<br />
The default size that ''muse2ps'' will typeset music in is size 14. To display the music at other sizes, use the <tt>=z</tt> option followed by the size. Here is the example prelude printed in all sizes (with right-justification of the last system using <tt>=j</tt> also added to the option string):<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z6j&nbsp;&nbsp;| ps2pdf - > [[Media:bach-wtc1p01-z6j.pdf|bach-wtc1p01-z6j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z14j | ps2pdf - > [[Media:bach-wtc1p01-z14j.pdf|bach-wtc1p01-z14j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z16j | ps2pdf - > [[Media:bach-wtc1p01-z16j.pdf|bach-wtc1p01-z16j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z18j | ps2pdf - > [[Media:bach-wtc1p01-z18j.pdf|bach-wtc1p01-z18j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z21j | ps2pdf - > [[Media:bach-wtc1p01-z21j.pdf|bach-wtc1p01-z21j.pdf]]<br />
<br />
Full-scores are typically printed at size 14 (particularly scores with many parts). Parts for performers are typically printed at sizes 18 or 21. Piano music is typically printed at size 16, and Size 18 has dither on two-pixel wide staff lines. The approximate equivalents to point sizes in regular text (multiplying by the factor 72/300 and then multiplying by 3):<br />
<br />
<center><br />
{| class="wikitable" cellpadding="0" cellspacing="0" border="0"<br />
|- |- {{Style|table header}}<br />
! scope="col" align="left" | MuseData music size<br />
! scope="col" align="left" | Staff height (mm)<br />
! score="col" align="left" | Approximate text font size<br />
! score="col" align="left" | Musical application<br />
|-<br />
| 6 || 2.03 mm || 4 pt || none<br />
|-<br />
| 14 || 4.74 mm || 10 pt || full scores<br />
|-<br />
| 16 || 5.42 mm || 11.5 pt || piano music, vocal scores<br />
|-<br />
| 18 || 6.10 mm || 13 pt || instrumental parts<br />
|-<br />
| 21 || 7.11 mm || 15 pt || large-size instrumental parts<br />
|}<br />
</center><br />
<br />
=== Extracting MPG intermediate data ===<br />
<br />
When a MuseData [[stage2]] file is converted into graphical music notation as PostScript output from ''muse2ps'', it will pass through two data transformation steps. The first step is a conversion from [[stage2]] data into non-page-specific [[i-files]] which is accomplished with the [[autoset]] component. Then these "non-page-specific" [[i-files]] are converted into "page-specific" [[page files|i-files]] (or Music Page (MPG) files) which describe the precise position of musical elements on each page of typeset music. This [[music page]] data can be extracted from the program surreptitiously by using the "=P" option. This will cause the [[MPG]] data to be embedded in comments within the PostScript output. Each page of MPG data will be stored in a sequence of comments starting with "<tt>%=BeginMPGData: 1</tt>", where <tt>1</tt> is the data for page one. And each page of MPG data is ended by the comment <tt>"%=EndMPGData: 1"</tt>.<br />
<br />
All MuseData/dmuse related comments in the PostScript output start with the comment marker "%=", so the MPG data can easily be separated from the PostScript content and other irrelevant comments in a manner such as this:<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =P | grep "^%=" > [[Media:Mpg-comments.txt|mpg-comments.txt]]<br />
The [[regular expression]] search string "<tt>^%=</tt>" used in the [http://en.wikipedia.org/wiki/Grep grep] command means extract lines from the input which start with the two characters "<tt>%=</tt>".<br />
<br />
A PERL utility program, called [[Media:unpackmpg.pl|unpackmpg]], for extracting the MPG data from the comments is included with the source code for ''muse2ps'':<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =Pg85jt200l3000 | [[Media:unpackmpg.pl|unpackmpg]] > [[Media:Mpg-comments.mpg|mpg-comments.mpg]]<br />
In the above command the options mean:<br />
* <tt>=P</tt>: Output [[music page]] data.<br />
* <tt>=g85</tt>: Set the distance between the staves in the grand staff to 8.5 staff lines (default is 100, or 10 staff lines).<br />
* <tt>=j</tt>: Right-justify the last system of the music.<br />
* <tt>=t200</tt>: Set the top margin to 2/3 of a inch below the base position.<br />
* <tt>=l3000</tt>: Set the vertical printable region to 10 inches.<br />
<br />
=== Inputting MPG data (adding a title) ===<br />
<br />
The extracted [[music page]] data from the previous section can be edited (such as to add a title) and then can be reprocessed by ''muse2ps'' to generate PostScript output:<br />
cat [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] | muse2ps =p | ps2pdf - > [[Media:Bach-wtc1p01-title.pdf|bach-wtc1p01-title.pdf]]<br />
<br />
In this case the file [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] is the equivalent to the MPG data generated by ''muse2ps'' in the previous section: [[Media:Mpg-comments.mpg|mpg-comments.mpg]], but with these three lines added to generate a title for the first page:<br />
<br />
<pre><br />
X 14<br />
X 46 1200C 0 Well-Tempered Clavier, Book I, Prelude 1 in C major<br />
X 37 1200C 50 BWV 846<br />
</pre><br />
<br />
The first line sets the font indexes relative to music size 14. The second line places the line at "1200C 0" which means center the line horizontally at location 1200 (4 inches from the left margin), and position the line vertically at position 0 (0 inches below the top margin).<br />
<br />
[[Music page]] data for many of the score on http://www.musedata.org are available as both [[stage2]] files and [[music page]] files. Using the [[music page]] files as input to ''muse2ps'' will generate better graphical notation results, since the automatically typeset data from the [[stage2]] files has been proofread and adjusted by a human.<br />
<br />
== Options ==<br />
<br />
Below is a list of the options which muse2ps understands. Options are given<br />
as the first (and only) argument to the program, starting with an equals sign (=), then followed by the options in any order, with no spaces between the options. For example, to set the music size to 18 and right-justify the last system on the last page, use the option string =z21j:<br />
cat file.md2 | muse2ps =z21j > file.ps<br />
When using characters which may be parsed by the command-line interpreter, you will have to enclose the option string in single quotes (you can do this all of the time if you are uncertain of the conditions in which they would be required):<br />
cat file.md2 | muse2ps '=z21js^{(..}}^T^title^' | ps2pdf - > file.pdf<br />
<br />
In option strings such as "=c<#>", replace <#> with an integer. <tt>[#]</tt> indicates an optional number.<br />
<br />
{|class="wikitable" cellpadding="0" cellspacing="0" border="0" style="width:100%"<br />
|- {{Style|table header}}<br />
! scope="col" width="100px" align="center"| muse2ps option index<br />
|-<br />
| <div style="column-count:3;-moz-column-count:3;-webkit-column-count:3"><br />
* {{nowrap|{{mopt|c}} compression}}<br />
* {{nowrap|{{mopt|C}} composer}}<br />
* {{nowrap|{{mopt|d}} diagnostics}}<br />
* {{nowrap|{{mopt|D}} dash spacing}}<br />
* {{nowrap|{{mopt|E}} eof insertion}}<br />
* {{nowrap|{{mopt|f}} fill by staff}}<br />
* {{nowrap|{{mopt|F}} fill by system}}<br />
* {{nowrap|{{mopt|g}} grand staff spacing}}<br />
* {{nowrap|{{mopt|G}} group selection}}<br />
* {{nowrap|{{mopt|h}} note space}}<br />
* {{nowrap|{{mopt|i}} indentation flag}}<br />
* {{nowrap|{{mopt|I}} indentation amount}}<br />
* {{nowrap|{{mopt|j}} justification}}<br />
* {{nowrap|{{mopt|k}} display options}}<br />
* {{nowrap|{{mopt|l}} page length}}<br />
* {{nowrap|{{mopt|m}} left margin}}<br />
* {{nowrap|{{mopt|M}} embed stage2 data}}<br />
* {{nowrap|{{mopt|n}} number of systems}}<br />
* {{nowrap|{{mopt|p}} page files input}}<br />
* {{nowrap|{{mopt|P}} embed page files}}<br />
* {{nowrap|{{mopt|Q}} minimum distance duration}}<br />
* {{nowrap|{{mopt|s}} system spine}}<br />
* {{nowrap|{{mopt|S}} title/system space}}<br />
* {{nowrap|{{mopt|t}} top margin}}<br />
* {{nowrap|{{mopt|T}} title}}<br />
* {{nowrap|{{mopt|u}} subtitle}}<br />
* {{nowrap|{{mopt|v}} staff spacing}}<br />
* {{nowrap|{{mopt|w}} system width}}<br />
* {{nowrap|{{mopt|W}} thin barlines}}<br />
* {{nowrap|{{mopt|x}} no suggestions}}<br />
* {{nowrap|{{mopt|X}} no last barline}}<br />
* {{nowrap|{{mopt|y}} no line controls}}<br />
* {{nowrap|{{mopt|Y}} no initial time signature}}<br />
* {{nowrap|{{mopt|z}} music size}}<br />
</div><br />
|}<br />
<br><br />
<br />
See also the Dmuse text file [[Media:muse2ps-options.dm | options.dm]], or the HTML equivalent [[Media:muse2ps-options.html| options.html]] for a brief description of each option.<br />
<br />
{| style="background-color:white" cellpadding="4"<br />
|- valign="top"<br />
| {{anchor|c_option}}<b>=c</b><#>|| Compression factor: This is measured as a percentage of the default. 100 = no compression (100%). Use smaller values to decrease the spacing between notes (allowing fewer pages in the score). Values larger than 100 will expand the distance between notes (increasing the number of pages in the score). This option is useful to force the last system of music to occur at the bottom of a page.<br />
<br />
|- valign="top"<br />
|{{anchor|C_option}}<b>=C</b>^string^ || Display the ''string'' as the composer's name at the top right side of the first page. See <b>=T</b> for the title, and <b>=u</b> for the sub-title. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|d_option}}<b>=d</b><#> || Diagnostics and Error Messages.<br />
bit 0 of #: ON = print error messages<br />
bit 1 of #: ON = print all diagnostics<br />
bit 2 of #: ON = print diagnostics from autoset<br />
bit 3 of #: ON = print diagnostics from mskpage<br />
bit 4 of #: ON = print diagnostics from pspage<br />
no number = 0x01: print error messages<br />
For example, =d31 turns on all error message toggles. This option is useful if the output PostScript data from muse2ps is empty. The messages go to standard error, while the PostScript data goes to standard output. Therefore, you can print the error messages and still save or pipe the PostScript data without the error messages mixing with the output data.<br />
<br />
|- valign="top"<br />
| {{anchor|D_option}}<b>=D</b> || Spacing between dashes. Will override spacing in stage2 files: 0 = use default, >0 = space between dashes (units are dash-length).<br />
<br />
|- valign="top"<br />
| {{anchor|E_option}}<b>=E</b> || <tt>/END</tt> = <tt>/eof</tt>. The muse2ps program allows for multiple parts to be entered from standard input in a single stream of data. Normally the data files representing each part are separated from each other by a line containing only "<tt>/eof</tt>" (lowercase; meaning "End of File"). Separate MuseData [[stage2]] files do not typically end in "<tt>/eof</tt>", but rather, they are required to contain the line "<tt>/END</tt>" (uppercase) to indicate the end of the data. After "<tt>/END</tt>", any textual comments are allowed. With the =E option, you do not need to separate files by "<tt>/eof</tt>", and instead, the next file in the sequence will start on the line coming after "<tt>/END</tt>". Note, however, that you cannot use the =E option if there is any commentary after "<tt>/END</tt>" in a file.<br />
<br />
|- valign="top"<br />
| {{anchor|f_option}}<b>=f</b> || Fill pages to the bottom by proportionally stretching all spacings. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|F_option}}<b>=F</b> || Fill pages to the bottom by adding to the intersystem space only. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|g_option}}<b>=g</b><#>|| Grand staff intra-space measured in multiples of ledger lines times 10. The default is 100, which is 10 ledger lines. Note that this distance reference is different from the =v values which define the distance from the top of one staff to the top of the next staff. For the =g, option, the distance is from the bottom of the top staff to the top of the bottom staff.<br />
<br />
|- valign="top"<br />
| {{anchor|G_option}}<b>=G</b>^group-name^ || Group name to process. The default is "score". Available groups are found on data line 11 at the top of each MuseData [[stage2]] file (excluding any single- or multi-line comments). Other possibilities might be "part" or "data".<br />
<br />
|- valign="top"<br />
| {{anchor|h_option}}<b>=h</b><#> || Alter the minimum allowed space between notes. This is measured as a percentage of the default. 100 = no change (100%).<br />
<br />
|- valign="top"<br />
|{{anchor|i_option}}<b>=i</b><#> || Initial system indentation options flag.<br />
* 0 = use program defaults (set indentation with <tt>=I</tt> option)<br />
* 1 = no indentation of first system of music<br />
* 2 = indent first system, and after every forced system break<br />
<br />
|- valign="top"<br />
| {{anchor|I_option}}<b>=I</b><#> || Specify the indentation amount for the first system in the music. If zero, then default indentation amount will be used. (see the <tt>=i</tt> option for turning off indentation).<br />
<br />
|- valign="top"<br />
|{{anchor|j_option}}<b>=j</b> || Right-justify the last system of the music so that it extends all of the way across the page. The default is NOT to right justify. Right-justification is a recursive process where measures from previous systems may be moved ahead in the score to cause all systems to have approximately the same note density.<br />
<br />
|- valign="top"<br />
| {{anchor|k_option}}<b>=k</b>^0x<tt>#</tt>^ || Display alternative options. Options are stored in a hexadecimal number prefixed with the string "<tt>0x</tt>" (C program-styled hex number). The default values are the 0 bit settings. The meaning of the bits in the hexadecimal number are (from least significant to most significant bit):<br />
<br />
<table cellpadding=0 cellspacing=0><br />
<tr valign=baseline><th>bit</th><td width=10></td><th>meaning</th></tr><br />
<br />
<tr valign=baseline><td>0</td><td></td><td><br />
<b>k-option activation flag</b><br />
* 1: <i>k</i> option is active; read options in more significant bits<br />
* 0: <i>k</i> option is inactive; used to turn off this option as a command-line override<br />
</td></tr><br />
<br />
<tr valign=baseline><td>1</td><td></td><td><br />
<b>Sforzando/rfz flag</b><br />
* 0: display sforzando as sf (rf)<br />
* 1: display sforzando as sfz (rfz)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>2</td><td></td><td><br />
<b>Sub-edit flag</b><br />
* 0: display editorial markup differently from regular data (such as adding brackets around editorial elements)<br />
* 1: do not display editorial data differently from regular data<br />
</td></tr><br />
<br />
<tr valign=baseline><td>3</td><td></td><td><br />
<b>No-editorial flag</b><br />
* 0: display editorial markup data<br />
* 1: do not display editorial markup data<br />
</td></tr><br />
<br />
<tr valign=baseline><td>4</td><td></td><td><br />
<b> Editorial markup in Roman font flag</b><br />
* 0: use cue-size music fonts for editorial marks<br />
* 1: use Times-Roan font for editorial marks: tr, dynamics<br />
</td></tr><br />
<br />
<tr valign=baseline><td>5</td><td></td><td><br />
<b>Ligature flag</b><br />
* 0: do not use ligatures in text<br />
* 1: use ligatures for "ffl", "ffi", "ff", "fl", and "fi"<br />
</td></tr><br />
<br />
<tr valign=baseline><td>6</td><td></td><td><br />
<b>Figured harmony flag</b><br />
* 0: place figured harmony (figured bass) below the staff<br />
* 1: place figured harmony (figured bass) above the staff<br />
</td></tr><br />
<br />
<tr valign=baseline><td>7</td><td></td><td><br />
<b> mheavy4 barline style flag</b><br />
* 0: mheavy4 barline represented by two heavy lines<br />
* 1: mheavy4 barline represented by one thin, one thick, and then another thin line<br />
</td></tr><br />
<br />
<tr valign=baseline><td>8</td><td></td><td><br />
<b>Multi-voice augmentation dot option</b><br />
* 0: allow overstrike of dots in different voices<br />
* 1: do not allow overstrike<br />
</td></tr><br />
<br />
<tr valign=baseline><td>9</td><td></td><td><br />
<b>New key signatures option</b><br />
* 0: don't print a new key signature if it is the same as the previous one on the staff<br />
* 1: print a new key signature even if it repeats the previous key signature on the staff<br />
</td></tr><br />
<br />
<tr valign=baseline><td>10</td><td></td><td><br />
<b>Mixed duration chords</b><br />
* 0: don't allow a mixture of white and black notes in chords<br />
* 1: allow mixture of white and black notes in chords<br />
</td></tr><br />
<br />
<tr valign=baseline><td>11</td><td></td><td><br />
<b>Suppress key signature flag </b><br />
* 0: display key signatures<br />
* 1: suppress printing of the key signature (such as for timpani parts)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>12</td><td></td><td><br />
<b>Editorial slurs flag</b><br />
* 0: all slurs are regular<br />
* 1: <tt>{ }</tt> and <tt>z x</tt> slurs are editorial slurs (dashed slurs)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>13</td><td></td><td><br />
<b>New clef sign flag </b><br />
* 0: large clefs at start of system, cue-size clefs for clef changes<br />
* 1: always use large clefs<br />
</td></tr><br />
<br />
</table><br />
<br />
|- valign="top"<br />
| {{anchor|l_option}}<b>=l</b><#>|| Length of a page. Distance is measured dots, at 300 dots to the inch. Default is 2740 dots. The default starting height is 120 dots. This will not be lowered, but may be raised to accommodate a longer page.<br />
<br />
|- valign="top"<br />
| {{anchor|m_option}}<b>=m</b><#> || Left margin, measured in at 300 dots/inch. The default is 200 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|M_option}}<b>=M</b> || Include the contents of the MuseData source files in the trailer section of the file embedded in PostScript comments (if MuseData [[stage2]] files are used as input.<br />
<br />
|- valign="top"<br />
| {{anchor|n_option}}<b>=n</b><#> || Maximum number of systems on a page. The default is no maximum.<br />
<br />
|- valign="top"<br />
| {{anchor|p_option}}<b>=p</b> || The source is a concatenated set of page specific i-files (also called .mpg files), not a set of MuseData files.<br />
<br />
|- valign="top"<br />
| {{anchor|P_option}}<b>=P</b> || Include listings of the page specific i-files, which are the source of the output PostScript data. Each page is separated.<br />
<br />
|- valign="top"<br />
| {{anchor|Q_option}}<b>=Q</b><#> || Duration which is assigned the minimum distance.<br />
1 = whole notes<br />
... . . .<br />
8 = eighth notes<br />
16 = sixteenth notes, etc.<br />
<br />
|- valign="top"<br />
| {{anchor|s_option}}<b>=s</b>^string^ || Custom left-hand spine. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=s^[(....)][(..)](.)[({..}..)]^<br />
Each dot in the system bracketing string represents one part, with the first dot in the string representing the top staff of the system. If a grand staff is used for any part, then use the colon character (:) for that part. Staves which should be bracketed together are enclosed in square brackets: <tt>[]</tt>. Staves which should be braced together are enclosed in curly braces: <tt>{}</tt>. Staves which should be barred together (barlines connecting between staves) are enclosed in parentheses: <tt>()</tt>. The caret character (^) is used to mark the start and top of the option string. Subsequent options occur immediately after the second caret character with no intervening space.<br />
<br />
|- valign="top"<br />
| {{anchor|S_option}}<b>=S</b><#> || Add extra space between the title and the first system of music: 0 = use default, >0 = lower the first system (units are 1/300th of an inch).<br />
<br />
|- valign="top"<br />
|{{anchor|t_option}}<b>=t</b><#> || Top of page. Default is 120 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|T_option}}<b>=T</b>^string^ || Display the ''string'' as a title at the top of the (first) page. See <b>=u</b> for sub-title, and <b>=C</b> for composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|u_option}}<b>=u</b>^string^ || Display the ''string'' as a sub-title at the top of the (first) page. See <b>=T</b> for the title, and <b>=C</b> for the composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|v_option}}<b>=v</b><#,#,#...#> || Custom spacings. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=v192,192,192,208,192,208,176,176,176,200<br />
The above example setting for the =v option can be used for a system with 8 parts (such as 4 woodwinds, 2 horns, and 4 string instruments). The first seven values describe the spacing between each staff in the system, and the last value is the spacing between systems on the page. The spacing between staves and systems is constant with muse2ps. The spacing values are 1/10th of the distance between two staff lines, and the spacing value is the distance from the top of one staff to the top of the next staff (or the top of the last staff on a system to the top of the staff on the next system for the last value in the list). See the <tt>=g</tt> option for spacing the staves of a grand staff (such as for piano music). When a grand staff is part of a system with more parts, then the distance between the grand staff and the next system is the distance between the top of the bottom staff of the grand-staff pair and the top of the next staff.<br />
<br />
|- valign="top"<br />
| {{anchor|w_option}}<b>=w</b><#> || System width, measured in at 300 dots/inch. The default is 2050 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|W_option}}<b>=W</b>[#] || Thin barline flag. 0 = use regular barlines. 1 = use thin barlines. No number after <tt>=W</tt> means the same as <tt>=W0</tt>.<br />
<br />
|- valign="top"<br />
| {{anchor|x_option}}<b>=x</b> || Defeat all part inclusion suggestions in the data<br />
<br />
|- valign="top"<br />
| {{anchor|X_option}}<b>=X</b>[#] || Leave off the last barline (for short examples). 0 = print last bar, 1 = don't print last bar, <tt>=X</tt> without a number is equivalent to <tt>=X1</tt>. Note: you can add extra staff-line space in the last bar by putting in <tt>irest</tt>s, but you must put <tt>irest</tt>s in all parts, and they must all represent the same note-type (duration). Note also: If the last barline is anything but a regular measure line, it will continue to print.<br />
<br />
|- valign="top"<br />
|{{anchor|y_option}}<b>=y</b> || Defeat all line control suggestions in the data.<br />
<br />
|- valign="top"<br />
|{{anchor|Y_option}}<b>=Y</b><#> || Suppress printing first time signature in score. Used for printing small examples which have a time signature in the data, but none desired in graphical notation. You can also use a time signature in the data of "<tt>T:9/0</tt>" to generate a <i>hidden</i> time signature, and not giving a time signature at the start of a file will result in not time signature being printed. 0 = print initial time signatures (used to override options embedded in data). 1 = suppress first time signature (<tt>=Y</tt> is equivalent to <tt>=Y1</tt>).<br />
<br />
|- valign="top"<br />
| {{anchor|z_option}}<b>=z</b><#> || Music size: choices are 6,14,16,18,21. 14 is the default. This value describes the distance between staff lines in units of 300 dots per inch.<br />
<br />
|}<br />
<br />
== Multi-file input specification ==<br />
<br />
Normally individual MuseData [[stage2]] files contain a single part. These part files are concatenated together and sent via standard input into the muse2ps program. In order for the muse2ps program to be able to segment the separate part files from the original stream the marker "<tt>/eof</tt>" is added after the last line in each file, and the marker "<tt>//</tt>" is ''required'' after the end of all datafile input into muse2ps. <br />
<br />
Typically the last line of a [[stage2]] MuseData file consists of the string "<tt>/END</tt>" (in uppercase), so add the line "<tt>/eof</tt>" (in lowercase) after it: <br />
/END<br />
/eof<br />
<br />
The very last three lines of input to muse2ps should look like this:<br />
<br />
/END<br />
/eof<br />
//<br />
<br />
If you specify the =E option when running muse2ps, the "<tt>/END</tt>" markers will be used to segment the separate part files internally.<br />
<br />
The PERL script [[Media:collatemd2.pl|collatemd2]] (included with the source code to muse2ps) can be used to concatenate multiple [[stage2]] part files into a single input stream for muse2ps. The output of the PERL script can be saved to a file for later processing with muse2ps. In this case the recommended file extension for the multi-file MuseData content is <b>.md2</b> . Here are example uses of [[Media:collatemd2.pl|collatemd2]]:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
You many have to type "<tt>./collatemd2</tt>" instead of "<tt>collatemd2</tt>" if the PERL program is in the current directory and the current directory is not in the command search path. If you download the program from this page, remove the .pl extension when saving (and use a lowercase first letter for the filename). You may have to set the permissions to allow it to be run as a program with the unix command: <tt>chmod 0755 collatemd2</tt>.<br />
<br />
Alternatively, you can save the output from [[Media:collatemd2.pl|collatemd2]] into a file for later use with muse2ps:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] > [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]]<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
When downloading MuseData [[stage2]] files from http://www.musedata.org , the parts are all combined into a single multi-file MuseData file which is the equivalent to the output from [[Media:collatemd2.pl|collatemd2]].<br />
<br />
=== Multiple Music Page files ===<br />
<br />
When concatenating multiple Music Page (MPG) files, separate each file's content with a line with the single capital letter "P" on it. Example of how to do this on the command line, creating a PDF file:<br />
<br />
<source lang="bash"><br />
for i in ??<br />
do<br />
cat $i<br />
echo P<br />
done | muse2ps =p | ps2pdf - - > output.pdf<br />
</source><br />
<br />
N.B.: Probably two slashes also need to be added at the end of the last page; otherwise, it will not print:<br />
<br />
//<br />
<br />
== Color highlighting ==<br />
<br />
A soon-to-be-released update of muse2ps will allow for coloring of notes in the score. This colorization can be used in conjunction with displaying search results, or highlighting notes in an example. <br />
<br />
If you place an "R" character in column 14 for note (or rest) records, That note will be highlighted red. A capital "R" will also highlight the stem of the note, while a lower case "r" will color only the notehead. If multiple colored notes all share a common beam, then that beam is also highlighted.<br />
<br />
The letter "B" can be used in column 14 to color notes blue, and the letter "G" can be used to color notes green. The lowercase versions "r" and "g" can be used to color only the noteheads and not the stems.<br />
<br />
== Embedded options ==<br />
<br />
The <i>muse2ps</i> program can read options sent in the input data stream. Options can be embedded in the input data as single-line comments. In [[stage2]] files, single-line comments start with an at-sign (<tt>@</tt>) in the first column of the line. Following the comment marker comes an option identification string "<tt>muse2psv1</tt>", with "<tt>v1</tt>" being the option version level (currently level 1, and can be used in the future to keep options backwards and forwards compatible. Default options, listed in the previous section describing the options, can be overridden by using the default-option setting method which adds two equal signs in a row, followed by any options. Multiple default-option <br />
comments may occur to prevent the length of the line from getting too long (it is a good idea to limit the length of the line for full backwards compatibility with dmuse and [[stage2]] files, although the current line limit in dmuse/muse2ps is 900 characters).<br />
<br />
Option for specific music sizes can be set by placing the size option between the two equals signs in the option comment. Here is an example option comment header:<br />
<br />
@muse2psv1==z18<br />
@muse2psv1==T^Bach Chorale^u^bwv-277^C^J.S. Bach (1685-1750)^<br />
@muse2psv1=z14=v200,155,155,155j<br />
@muse2psv1=z18=v240,195,195,195j<br />
@muse2psv1=z21=v300,230,230,230j<br />
<br />
The first two lines are default-option settings for all music sizes. The first line sets the default music size to 18 if no size is given on the command line to muse2ps. The second line sets the title, subtitle, and composer fields on the title page. The last three lines set the vertical spacing between staves at various music sizes; the first for size 14, then size 18, and the last line for size 21.<br />
<br />
== ps2pdf options ==<br />
<br />
The default behavior of the ps2pdf program is to assume that the input data is formatted for A4 paper. The default output size for muse2ps is US letter. In order for ps2pdf to generate output pages with the correct dimensions, add the option <tt>-sPAPERSIZE=letter</tt> as an argument to the program:<br />
ps2pdf -sPAPERSIZE=letter<br />
<br />
Another pair of useful options (not needed for output from muse2ps, but useful when adding footers later) embeds the fonts used in the file:<br />
ps2pdf -sPAPERSIZE=letter -dCompatibilityLevel=1.4 -dPDFSETTINGS=/prepress<br />
<br />
For example the Symbol font is not present on the Apple iPad PDF viewer. When using the options in this example, the Symbol font (or the portion used) would be embedded in the file and therefore viewable on an iPad.<br />
<br />
== Creating images ==<br />
<br />
Graphical images can be created in various ways. A good method is to convert PostScript output from muse2ps to a bitmap image with the unix command-line program pstopnm. For smaller examples and converting to other image formats, Imagemagick's convert is another command-line program which is useful. Both pstopnm and convert are often pre-installed on linux computers, and both are available for free on the internet. They should also work with OS X, and can be used in MS Windows using [http://www.cygwin.com cygwin].<br />
<br />
To create an image, pipe the output from muse2ps into pstopnm, and convert to a bitmapped image at 300 dots per inch. Next pipe the resulting image to convert for further processing. In the following example, the image is first trimmed from a full page to just the area which contains the printed music, then the image is resized to 33% of the original size for use on the web, and saved into a PNG file.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -resize '33%' [[Media:scale.png|scale.png]]<br />
<br />
=== Transparent background ===<br />
<br />
Use the options <tt>-negate -alpha copy -negate</tt> to make the background of the image transparent so that it can be displayed on any background color. Here is the example image which was just created with the above command:<br />
<br />
[[Image:scale.png]]<br />
<br />
Notice that the background color of the image is white, which becomes noticeable when placing the image on a non-white background color. Now create an image with a transparent background:<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -negate -alpha copy -negate \<br />
-resize '33%' [[Media:scale-transparent.png|scale.png]]<br />
<center><br />
<table cellspacing=0 cellpadding=3><tr bgcolor=#ffffff><td bgcolor=#4499aa><br />
[[Image:scale-transparent.png]]<br />
</td><td width=10><br />
<td bgcolor=#ffaa44>[[Image:scale-transparent.png]]<br />
</td></tr></table></center><br />
<br />
<br />
=== Images for printed publications ===<br />
<br />
To insert musical examples in a Microsoft or similar word-processing program, do not resize the image, but leave it at the 300 dots per inch size of the original. Then you can rescale the image in the word processor as necessary. This will optimize the quality of the image in the final printout from the word processor.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim [[Media:scale-large.png|scale.png]]<br />
<br />
== Humdrum interface ==<br />
<br />
The muse2ps program can be used in conjunction with the [http://extra.humdrum.org/man/hum2muse hum2muse] program. Here is an example of how to create graphical music notation using the following Humdrum data as an example:<br />
<br />
<table cellspacing=0><tr bgcolor=white valign=top><td><htmlet>beethoven-kern</htmlet></td><br />
<td width=10></td><br />
<td> <br />
<pre><br />
hum2muse file.krn | muse2ps \<br />
| ps2pdf - - > file.png<br />
</pre><br />
[[Image:beethoven-kern.png]] <br />
<br><br />
<br><br />
<br><br />
</td><br />
</tr><br />
</table><br />
<br />
Images can be generated from Humdrum data online by pasting/typing data into the [http://kern.humdrum.org/cgi-bin/kern/kseditor Humdrum online editor]. For example, copy and paste the above Humdrum data into the left black box on the Humdrum online editor page, and the click on the red "Generate" button to produce an image of the graphical music using the default settings.<br />
<br />
Here is the intermediate MuseData which is passed between [http://extra.humdrum.org/man/hum2muse hum2muse] and muse2ps: [[Media:beethoven-kern.md2 | beethoven.md2]]. Try copying / pasting<br />
this data into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in the same music notation as seen above.<br />
<br />
== Zbex programs ==<br />
<br />
In the muse2ps source code directory, the sub-directory <tt>zprogs</tt> contains the [[zbex]] programs used to generate the file zfun32.c. Most necessary files needed to create [http://www.ccarh.org/software/muse2ps/muse2ps/zfun32.c zfun32.c] are in that directory, but perhaps not all of them. These programs are not used directly by muse2ps, but are compiled into zbex executable code within zfun32.c. The muse2ps is essentially a non-interactive version of [[dmuse]] (see http://dmuse.ccarh.org). The [[dmuse]] program is a text editor which also has a built-in [[zbex]] language interpreter and graphical music display capabilities. The interpreter portion of [[dmuse]] has been extracted for non-interactive use in muse2ps.<br />
<br />
== Examples == <br />
<br />
Further examples of MuseData [[stage2]] files converted into graphical music notation with muse2ps can be found on the [[MuseData examples]] page.<br />
<br />
== Feature requests and bug reports ==<br />
<br />
See the page: [[Muse2ps feature requests and bug reports]].</div>Edchttps://wiki.ccarh.org/index.php?title=Muse2ps&diff=10513Muse2ps2021-03-30T18:23:26Z<p>Edc: /* ps2pdf options */</p>
<hr />
<div>__TOC__<br />
<br />
== Overview == <br />
<br />
The <b>muse2ps</b> program is a command-line version of the [[autoset]], [[mskpage]] and [[pspage]] programs which are usually run within the [[dmuse]] editor using the built-in [[zbex language]] interpreter. The ''muse2ps'' program reads MuseData [[stage2]] data or [[page file]] data from standard input and converts them into PostScript data representing graphical musical notation which is sent to standard output. The following diagram illustrates the flow of data through ''muse2ps'':<br />
<br />
<br />
<center><br />
[[File:muse2ps-dataflow.svg]]<br />
</center><br />
<br />
The ''muse2ps'' program can accept two forms of input. By default, the ''muse2ps'' program will read multi-file [[stage2]] data from standard input. MuseData [[stage2]] files contain primarily symbolic musical data with possibly a little bit of formatting information (such as system and page breaks). The ''muse2ps'' program will format this symbolic music internally into [[page files]] which give explicit information about the placement of notes, slurs, beams, dynamics, lyrics, ''etc.'' on each page of music.<br />
<br />
Alternatively, if the <tt>=p</tt> option is given as an [[argument]] to ''muse2ps'', the program can read multi-file [[page files]] directly from standard input. Typically, [[stage2]] files are converted automatically into [[pages files]] and then further processing is done on these [[page files]] in order to produce a final typeset score of the graphical music notation. For example, the [[vskpage]] is used to refine the vertical spacing of staves and systems on a page of music within [[page files]], and [[eskpage]] is used to interactively edit the position of graphical elements within [[page files]].<br />
<br />
The only output from ''muse2ps'' (besides error messages) is PostScript data which describes the graphical music notation in a printable score of the music. This data can be further processed, such as sending directly to a PostScript printer, or converting into PDF files for web distrubution of the notated music. The representation of music notation within the PostScript file is in the form of bit-mapped musical fonts. The musical fonts are designed for use with 300 DPI resolution printers when printed at the native resolution (originally these fonts were designed for [http://en.wikipedia.org/wiki/Printer_Command_Language PCL-based printers]). These fonts have the unique feature of [http://en.wikipedia.org/wiki/Dither dithered] edges on sloped beams to minimize the visual effect of pixel stepping at 300 DPI resolution. Minor notation editing can be done on the PostScript/PDF files in programs such as Adobe Illustrator. If you print via PDF files, you may want to uncheck the page-scaling option in the printing program in order to avoid aliasing artifacts in the hard copy due to changing the intended size of the music on the page. <br />
<br />
Two other forms of data can be embedded within the PostScript output. If the <tt>=M</tt> option is given as an [[argument]] to the ''muse2ps'' program, then the original [[stage2]] data will be stored within comments in the PostScript data. Likewise, if the <tt>=P</tt> option is given, the [[page file]] data will be included in the PostScript output as comments. The [[page file]] data will either come from automatic generation using [[autoset]]/[[mskpage]], or from standard input if you use the <tt>=p</tt> option.<br />
<br />
There are also numerous options which primarily deal with the formatting of [[stage2]] files with the [[autoset]] and [[mskpage]] program components. See the [[#Options| options]] section below for a complete list of the options.<br />
<br />
== Download ==<br />
<br />
The ''muse2ps'' program executables for various operating systems or the source code can be downloaded from the following table. <b>Instructions for setting up the program for use can be found ''[[Muse2ps_installation_instructions| here]]''.</b><br />
<br />
<br />
<center><br />
{{muse2psdownloadtable}}<br />
</center><br />
<br />
== Online ==<br />
<br />
The ''muse2ps'' program can be run online at http://www.musedata.org/mdconverter . If you click on [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icons next to data found on the http://www.musedata.org website, the musical data will be loaded into this online converter from which PostScript, PDF, or PNG images of the music can be generated. <br />
<br />
For example, click on the [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icon on the information page for this [http://www.musedata.org/encodings/bach/bg/chorals/0428/ Bach chorale], then click on the {{keypress|Submit}} button on the converter page to generate a PDF file of the chorale with the default settings. Then try setting some options, such as using "<tt>[(.)(.)(.)(.)]</tt>" for the <b>System spine</b> option to prevent barlines from being drawn between staves in the score.<br />
<br />
You can create your own MuseData content and print with the online converter as well. Copy and paste the following MuseData content: [[Media:beethoven-kern.md2 | beethoven.md2]] into into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in this graphical music notation:<br />
<center><br />
[[Image:beethoven-kern.png]]<br />
</center><br />
<br />
== Command-line examples ==<br />
<br />
The simplest use of ''muse2ps'' is to send it MuseData [[stage2]] files as standard input, and save standard output from the program into a PostScript file:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps > [[Media:bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
<br />
You may need to use "<tt>./muse2ps</tt>" instead of "<tt>muse2ps</tt>" in the above command if the ''muse2ps'' program file is in the current directory, but the current directory is not in your [http://en.wikipedia.org/wiki/PATH_%28variable%29 command search path]. The PostScript output can then be further processed in an external program. Usually it is more convenient to work with the data as a PDF file. The process of converting PostScript to PDF can be done by many methods. For example, Acrobat Distiller or Acrobat Professional will convert PostScript files into PDF files. There are online converters, such as this one: http://www.ps2pdf.com/convert.htm . And on most linux computers you can convert PostScript into PDF files using the [http://pages.cs.wisc.edu/~ghost/doc/gnu/5.50/Ps2pdf.htm ps2pdf] command:<br />
ps2pdf [[Media:Bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
This will create the file [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]] (replacing the .ps extension with a .pdf extention automatically when saving the PDF file). If you click on the PDF file link in the previous sentence, you should see the musical notation for J.S. Bach's Well-Tempered Clavier, Book I, Prelude 1 in C major.<br />
<br />
An alternate method of using ps2pdf to generate a PDF file in a single step in conjunction with ''muse2ps'' would be with this command-line construction:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps | ps2pdf - > [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]]<br />
<br />
=== Last system justification ===<br />
<br />
By default ''muse2ps'' does not right-justify the last system of the music on the last page of the output (as can be seen in [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]]). If you<br />
want to justify the last system, use the <tt>=j</tt> option as an argument to ''muse2ps'':<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =j | ps2pdf - > [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]<br />
The ''muse2ps'' (or more precisely, the internal [[mskpage]] component) will possibly adjust line breaks on one or more of the previous systems in the score in order to fill enough music onto the last system, and then stretch or contract the music on the last system to fit the width between margins exactly. The <tt>=j</tt> option can potentially take significantly more time to process the input data than when it is omitted. The reason for the increased processing time can be seen by comparing [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]] and [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]. In order to right-justify the last system of the music, all systems in the music were recursively re-typeset so that the first system in the music contains only three measures instead of four.<br />
<br />
=== Grand-Staff vertical spacing ===<br />
<br />
The distance between staves in the grand staff (which is used for instruments such as the piano) can be controlled by the =g option. An integer number follows after the letter "g" in the option which specifies the distance between the two staves in terms of 1/10ths of the distance between staff lines. The default value for this option is =g100 which means that the distance between the top line of each staff is 10 staff lines.<br />
<br />
Here is an example of reducing the spacing between the staves to nothing. The =g50 option in this case means that the distance between the top of each staff is 5 staff lines. And since this is the height of a single staff, there will be no space between the two staves:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =g50 | ps2pdf - > [[Media:bach-wtc1p01-g50.pdf|bach-wtc1p01-g50.pdf]]<br />
<br />
<br />
=== Single-staff spacing in a system ===<br />
<br />
A ''system'' is a collection of staves which represent different instruments playing at the same time. The distance between these staves can be controlled with the =v option. Following =v is a list of comma-separated integers (with no intervening spaces). The unit for these numbers is the same as in the =g option: 1/10th of the distance between successive staff lines.<br />
<br />
The default spacing between staves will depend on whether they are supposed to be barred together or not. Here is the default spacing for four staves of a string quartet:<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
=== Using multiple options ===<br />
<br />
In the previous examples, the prelude is printed on two pages, with a single orphan system occurring on the second page. One way to force the music to fit onto a single page is to set the top margin from 120 pixels to 0 pixels with the option <tt>=t0</tt> and the printable length on the page to 3000 pixels (10 inches) with the option <tt>=l3000</tt>. When supplying multiple optional settings to muse2ps, there is only one option string which starts with the equals character (<tt>=</tt>) and is followed by all options with no spaces. Here is an example of using the <tt>=t0</tt>, <tt>=l3000</tt> and <tt>=j</tt> options at the same time, resulting in a single page of music:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =jt0l3000 | ps2pdf - > [[Media:bach-wtc1p01-jt0l3000.pdf|bach-wtc1p01-jt0l3000.pdf]]<br />
The order of the options in the option string is not important, so for example, "<tt>=l3000t0j</tt>" would yield the same results as "<tt>=jt0l3000</tt>".<br />
<br />
Instead of adjusting the vertical margins with the <tt>=t</tt> and <tt>=l</tt> options, you can also decrease the spacing between staves globally on the system. To do this, use the =v option followed by a list of distances between each staff on the system. In this example there are two staves in each system, so one value is expected after "=v". If there were three or more staves, then the vertical spacing values are separated by commas (and no spaces).<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =v160jt300 | ps2pdf - > [[Media:bach-wtc1p01-v160jt300.pdf|bach-wtc1p01-v160jt300.pdf]]<br />
<br />
In the above example, "<tt>=v160</tt>" means make the spacing between staves on the system slightly more than 1/2 an inch; "<tt>=j</tt>" means to right-justify the last system of music; and "<tt>t300</tt>" means add an extra inch to the top margin (the default setting is "<tt>=t120</tt>".<br />
<br />
=== Music size ===<br />
<br />
The ''muse2ps'' program can typeset music in several sizes: 6, 14, 16, 18 and 21. These numbers refer to the pixel count (at 300 DPI) between successive staff lines. For example, here is a zoom-in of music typeset using the size 6 font, where each staff line is one pixel wide, and there are 5 pixels in the gap between lines, making each staff line spaced every 6 pixels and hence the name "size 6":<br />
<br />
<center><br />
[[File:Dmuse-size6.png|411px]]<br />
</center><br />
<br />
<br />
The default size that ''muse2ps'' will typeset music in is size 14. To display the music at other sizes, use the <tt>=z</tt> option followed by the size. Here is the example prelude printed in all sizes (with right-justification of the last system using <tt>=j</tt> also added to the option string):<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z6j&nbsp;&nbsp;| ps2pdf - > [[Media:bach-wtc1p01-z6j.pdf|bach-wtc1p01-z6j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z14j | ps2pdf - > [[Media:bach-wtc1p01-z14j.pdf|bach-wtc1p01-z14j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z16j | ps2pdf - > [[Media:bach-wtc1p01-z16j.pdf|bach-wtc1p01-z16j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z18j | ps2pdf - > [[Media:bach-wtc1p01-z18j.pdf|bach-wtc1p01-z18j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z21j | ps2pdf - > [[Media:bach-wtc1p01-z21j.pdf|bach-wtc1p01-z21j.pdf]]<br />
<br />
Full-scores are typically printed at size 14 (particularly scores with many parts). Parts for performers are typically printed at sizes 18 or 21. Piano music is typically printed at size 16, and Size 18 has dither on two-pixel wide staff lines. The approximate equivalents to point sizes in regular text (multiplying by the factor 72/300 and then multiplying by 3):<br />
<br />
<center><br />
{| class="wikitable" cellpadding="0" cellspacing="0" border="0"<br />
|- |- {{Style|table header}}<br />
! scope="col" align="left" | MuseData music size<br />
! scope="col" align="left" | Staff height (mm)<br />
! score="col" align="left" | Approximate text font size<br />
! score="col" align="left" | Musical application<br />
|-<br />
| 6 || 2.03 mm || 4 pt || none<br />
|-<br />
| 14 || 4.74 mm || 10 pt || full scores<br />
|-<br />
| 16 || 5.42 mm || 11.5 pt || piano music, vocal scores<br />
|-<br />
| 18 || 6.10 mm || 13 pt || instrumental parts<br />
|-<br />
| 21 || 7.11 mm || 15 pt || large-size instrumental parts<br />
|}<br />
</center><br />
<br />
=== Extracting MPG intermediate data ===<br />
<br />
When a MuseData [[stage2]] file is converted into graphical music notation as PostScript output from ''muse2ps'', it will pass through two data transformation steps. The first step is a conversion from [[stage2]] data into non-page-specific [[i-files]] which is accomplished with the [[autoset]] component. Then these "non-page-specific" [[i-files]] are converted into "page-specific" [[page files|i-files]] (or Music Page (MPG) files) which describe the precise position of musical elements on each page of typeset music. This [[music page]] data can be extracted from the program surreptitiously by using the "=P" option. This will cause the [[MPG]] data to be embedded in comments within the PostScript output. Each page of MPG data will be stored in a sequence of comments starting with "<tt>%=BeginMPGData: 1</tt>", where <tt>1</tt> is the data for page one. And each page of MPG data is ended by the comment <tt>"%=EndMPGData: 1"</tt>.<br />
<br />
All MuseData/dmuse related comments in the PostScript output start with the comment marker "%=", so the MPG data can easily be separated from the PostScript content and other irrelevant comments in a manner such as this:<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =P | grep "^%=" > [[Media:Mpg-comments.txt|mpg-comments.txt]]<br />
The [[regular expression]] search string "<tt>^%=</tt>" used in the [http://en.wikipedia.org/wiki/Grep grep] command means extract lines from the input which start with the two characters "<tt>%=</tt>".<br />
<br />
A PERL utility program, called [[Media:unpackmpg.pl|unpackmpg]], for extracting the MPG data from the comments is included with the source code for ''muse2ps'':<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =Pg85jt200l3000 | [[Media:unpackmpg.pl|unpackmpg]] > [[Media:Mpg-comments.mpg|mpg-comments.mpg]]<br />
In the above command the options mean:<br />
* <tt>=P</tt>: Output [[music page]] data.<br />
* <tt>=g85</tt>: Set the distance between the staves in the grand staff to 8.5 staff lines (default is 100, or 10 staff lines).<br />
* <tt>=j</tt>: Right-justify the last system of the music.<br />
* <tt>=t200</tt>: Set the top margin to 2/3 of a inch below the base position.<br />
* <tt>=l3000</tt>: Set the vertical printable region to 10 inches.<br />
<br />
=== Inputting MPG data (adding a title) ===<br />
<br />
The extracted [[music page]] data from the previous section can be edited (such as to add a title) and then can be reprocessed by ''muse2ps'' to generate PostScript output:<br />
cat [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] | muse2ps =p | ps2pdf - > [[Media:Bach-wtc1p01-title.pdf|bach-wtc1p01-title.pdf]]<br />
<br />
In this case the file [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] is the equivalent to the MPG data generated by ''muse2ps'' in the previous section: [[Media:Mpg-comments.mpg|mpg-comments.mpg]], but with these three lines added to generate a title for the first page:<br />
<br />
<pre><br />
X 14<br />
X 46 1200C 0 Well-Tempered Clavier, Book I, Prelude 1 in C major<br />
X 37 1200C 50 BWV 846<br />
</pre><br />
<br />
The first line sets the font indexes relative to music size 14. The second line places the line at "1200C 0" which means center the line horizontally at location 1200 (4 inches from the left margin), and position the line vertically at position 0 (0 inches below the top margin).<br />
<br />
[[Music page]] data for many of the score on http://www.musedata.org are available as both [[stage2]] files and [[music page]] files. Using the [[music page]] files as input to ''muse2ps'' will generate better graphical notation results, since the automatically typeset data from the [[stage2]] files has been proofread and adjusted by a human.<br />
<br />
== Options ==<br />
<br />
Below is a list of the options which muse2ps understands. Options are given<br />
as the first (and only) argument to the program, starting with an equals sign (=), then followed by the options in any order, with no spaces between the options. For example, to set the music size to 18 and right-justify the last system on the last page, use the option string =z21j:<br />
cat file.md2 | muse2ps =z21j > file.ps<br />
When using characters which may be parsed by the command-line interpreter, you will have to enclose the option string in single quotes (you can do this all of the time if you are uncertain of the conditions in which they would be required):<br />
cat file.md2 | muse2ps '=z21js^{(..}}^T^title^' | ps2pdf - > file.pdf<br />
<br />
In option strings such as "=c<#>", replace <#> with an integer. <tt>[#]</tt> indicates an optional number.<br />
<br />
{|class="wikitable" cellpadding="0" cellspacing="0" border="0" style="width:100%"<br />
|- {{Style|table header}}<br />
! scope="col" width="100px" align="center"| muse2ps option index<br />
|-<br />
| <div style="column-count:3;-moz-column-count:3;-webkit-column-count:3"><br />
* {{nowrap|{{mopt|c}} compression}}<br />
* {{nowrap|{{mopt|C}} composer}}<br />
* {{nowrap|{{mopt|d}} diagnostics}}<br />
* {{nowrap|{{mopt|D}} dash spacing}}<br />
* {{nowrap|{{mopt|E}} eof insertion}}<br />
* {{nowrap|{{mopt|f}} fill by staff}}<br />
* {{nowrap|{{mopt|F}} fill by system}}<br />
* {{nowrap|{{mopt|g}} grand staff spacing}}<br />
* {{nowrap|{{mopt|G}} group selection}}<br />
* {{nowrap|{{mopt|h}} note space}}<br />
* {{nowrap|{{mopt|i}} indentation flag}}<br />
* {{nowrap|{{mopt|I}} indentation amount}}<br />
* {{nowrap|{{mopt|j}} justification}}<br />
* {{nowrap|{{mopt|k}} display options}}<br />
* {{nowrap|{{mopt|l}} page length}}<br />
* {{nowrap|{{mopt|m}} left margin}}<br />
* {{nowrap|{{mopt|M}} embed stage2 data}}<br />
* {{nowrap|{{mopt|n}} number of systems}}<br />
* {{nowrap|{{mopt|p}} page files input}}<br />
* {{nowrap|{{mopt|P}} embed page files}}<br />
* {{nowrap|{{mopt|Q}} minimum distance duration}}<br />
* {{nowrap|{{mopt|s}} system spine}}<br />
* {{nowrap|{{mopt|S}} title/system space}}<br />
* {{nowrap|{{mopt|t}} top margin}}<br />
* {{nowrap|{{mopt|T}} title}}<br />
* {{nowrap|{{mopt|u}} subtitle}}<br />
* {{nowrap|{{mopt|v}} staff spacing}}<br />
* {{nowrap|{{mopt|w}} system width}}<br />
* {{nowrap|{{mopt|W}} thin barlines}}<br />
* {{nowrap|{{mopt|x}} no suggestions}}<br />
* {{nowrap|{{mopt|X}} no last barline}}<br />
* {{nowrap|{{mopt|y}} no line controls}}<br />
* {{nowrap|{{mopt|Y}} no initial time signature}}<br />
* {{nowrap|{{mopt|z}} music size}}<br />
</div><br />
|}<br />
<br><br />
<br />
See also the Dmuse text file [[Media:muse2ps-options.dm | options.dm]], or the HTML equivalent [[Media:muse2ps-options.html| options.html]] for a brief description of each option.<br />
<br />
{| style="background-color:white" cellpadding="4"<br />
|- valign="top"<br />
| {{anchor|c_option}}<b>=c</b><#>|| Compression factor: This is measured as a percentage of the default. 100 = no compression (100%). Use smaller values to decrease the spacing between notes (allowing fewer pages in the score). Values larger than 100 will expand the distance between notes (increasing the number of pages in the score). This option is useful to force the last system of music to occur at the bottom of a page.<br />
<br />
|- valign="top"<br />
|{{anchor|C_option}}<b>=C</b>^string^ || Display the ''string'' as the composer's name at the top right side of the first page. See <b>=T</b> for the title, and <b>=u</b> for the sub-title. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|d_option}}<b>=d</b><#> || Diagnostics and Error Messages.<br />
bit 0 of #: ON = print error messages<br />
bit 1 of #: ON = print all diagnostics<br />
bit 2 of #: ON = print diagnostics from autoset<br />
bit 3 of #: ON = print diagnostics from mskpage<br />
bit 4 of #: ON = print diagnostics from pspage<br />
no number = 0x01: print error messages<br />
For example, =d31 turns on all error message toggles. This option is useful if the output PostScript data from muse2ps is empty. The messages go to standard error, while the PostScript data goes to standard output. Therefore, you can print the error messages and still save or pipe the PostScript data without the error messages mixing with the output data.<br />
<br />
|- valign="top"<br />
| {{anchor|D_option}}<b>=D</b> || Spacing between dashes. Will override spacing in stage2 files: 0 = use default, >0 = space between dashes (units are dash-length).<br />
<br />
|- valign="top"<br />
| {{anchor|E_option}}<b>=E</b> || <tt>/END</tt> = <tt>/eof</tt>. The muse2ps program allows for multiple parts to be entered from standard input in a single stream of data. Normally the data files representing each part are separated from each other by a line containing only "<tt>/eof</tt>" (lowercase; meaning "End of File"). Separate MuseData [[stage2]] files do not typically end in "<tt>/eof</tt>", but rather, they are required to contain the line "<tt>/END</tt>" (uppercase) to indicate the end of the data. After "<tt>/END</tt>", any textual comments are allowed. With the =E option, you do not need to separate files by "<tt>/eof</tt>", and instead, the next file in the sequence will start on the line coming after "<tt>/END</tt>". Note, however, that you cannot use the =E option if there is any commentary after "<tt>/END</tt>" in a file.<br />
<br />
|- valign="top"<br />
| {{anchor|f_option}}<b>=f</b> || Fill pages to the bottom by proportionally stretching all spacings. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|F_option}}<b>=F</b> || Fill pages to the bottom by adding to the intersystem space only. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|g_option}}<b>=g</b><#>|| Grand staff intra-space measured in multiples of ledger lines times 10. The default is 100, which is 10 ledger lines. Note that this distance reference is different from the =v values which define the distance from the top of one staff to the top of the next staff. For the =g, option, the distance is from the bottom of the top staff to the top of the bottom staff.<br />
<br />
|- valign="top"<br />
| {{anchor|G_option}}<b>=G</b>^group-name^ || Group name to process. The default is "score". Available groups are found on data line 11 at the top of each MuseData [[stage2]] file (excluding any single- or multi-line comments). Other possibilities might be "part" or "data".<br />
<br />
|- valign="top"<br />
| {{anchor|h_option}}<b>=h</b><#> || Alter the minimum allowed space between notes. This is measured as a percentage of the default. 100 = no change (100%).<br />
<br />
|- valign="top"<br />
|{{anchor|i_option}}<b>=i</b><#> || Initial system indentation options flag.<br />
* 0 = use program defaults (set indentation with <tt>=I</tt> option)<br />
* 1 = no indentation of first system of music<br />
* 2 = indent first system, and after every forced system break<br />
<br />
|- valign="top"<br />
| {{anchor|I_option}}<b>=I</b><#> || Specify the indentation amount for the first system in the music. If zero, then default indentation amount will be used. (see the <tt>=i</tt> option for turning off indentation).<br />
<br />
|- valign="top"<br />
|{{anchor|j_option}}<b>=j</b> || Right-justify the last system of the music so that it extends all of the way across the page. The default is NOT to right justify. Right-justification is a recursive process where measures from previous systems may be moved ahead in the score to cause all systems to have approximately the same note density.<br />
<br />
|- valign="top"<br />
| {{anchor|k_option}}<b>=k</b>^0x<tt>#</tt>^ || Display alternative options. Options are stored in a hexadecimal number prefixed with the string "<tt>0x</tt>" (C program-styled hex number). The default values are the 0 bit settings. The meaning of the bits in the hexadecimal number are (from least significant to most significant bit):<br />
<br />
<table cellpadding=0 cellspacing=0><br />
<tr valign=baseline><th>bit</th><td width=10></td><th>meaning</th></tr><br />
<br />
<tr valign=baseline><td>0</td><td></td><td><br />
<b>k-option activation flag</b><br />
* 1: <i>k</i> option is active; read options in more significant bits<br />
* 0: <i>k</i> option is inactive; used to turn off this option as a command-line override<br />
</td></tr><br />
<br />
<tr valign=baseline><td>1</td><td></td><td><br />
<b>Sforzando/rfz flag</b><br />
* 0: display sforzando as sf (rf)<br />
* 1: display sforzando as sfz (rfz)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>2</td><td></td><td><br />
<b>Sub-edit flag</b><br />
* 0: display editorial markup differently from regular data (such as adding brackets around editorial elements)<br />
* 1: do not display editorial data differently from regular data<br />
</td></tr><br />
<br />
<tr valign=baseline><td>3</td><td></td><td><br />
<b>No-editorial flag</b><br />
* 0: display editorial markup data<br />
* 1: do not display editorial markup data<br />
</td></tr><br />
<br />
<tr valign=baseline><td>4</td><td></td><td><br />
<b> Editorial markup in Roman font flag</b><br />
* 0: use cue-size music fonts for editorial marks<br />
* 1: use Times-Roan font for editorial marks: tr, dynamics<br />
</td></tr><br />
<br />
<tr valign=baseline><td>5</td><td></td><td><br />
<b>Ligature flag</b><br />
* 0: do not use ligatures in text<br />
* 1: use ligatures for "ffl", "ffi", "ff", "fl", and "fi"<br />
</td></tr><br />
<br />
<tr valign=baseline><td>6</td><td></td><td><br />
<b>Figured harmony flag</b><br />
* 0: place figured harmony (figured bass) below the staff<br />
* 1: place figured harmony (figured bass) above the staff<br />
</td></tr><br />
<br />
<tr valign=baseline><td>7</td><td></td><td><br />
<b> mheavy4 barline style flag</b><br />
* 0: mheavy4 barline represented by two heavy lines<br />
* 1: mheavy4 barline represented by one thin, one thick, and then another thin line<br />
</td></tr><br />
<br />
<tr valign=baseline><td>8</td><td></td><td><br />
<b>Multi-voice augmentation dot option</b><br />
* 0: allow overstrike of dots in different voices<br />
* 1: do not allow overstrike<br />
</td></tr><br />
<br />
<tr valign=baseline><td>9</td><td></td><td><br />
<b>New key signatures option</b><br />
* 0: don't print a new key signature if it is the same as the previous one on the staff<br />
* 1: print a new key signature even if it repeats the previous key signature on the staff<br />
</td></tr><br />
<br />
<tr valign=baseline><td>10</td><td></td><td><br />
<b>Mixed duration chords</b><br />
* 0: don't allow a mixture of white and black notes in chords<br />
* 1: allow mixture of white and black notes in chords<br />
</td></tr><br />
<br />
<tr valign=baseline><td>11</td><td></td><td><br />
<b>Suppress key signature flag </b><br />
* 0: display key signatures<br />
* 1: suppress printing of the key signature (such as for timpani parts)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>12</td><td></td><td><br />
<b>Editorial slurs flag</b><br />
* 0: all slurs are regular<br />
* 1: <tt>{ }</tt> and <tt>z x</tt> slurs are editorial slurs (dashed slurs)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>13</td><td></td><td><br />
<b>New clef sign flag </b><br />
* 0: large clefs at start of system, cue-size clefs for clef changes<br />
* 1: always use large clefs<br />
</td></tr><br />
<br />
</table><br />
<br />
|- valign="top"<br />
| {{anchor|l_option}}<b>=l</b><#>|| Length of a page. Distance is measured dots, at 300 dots to the inch. Default is 2740 dots. The default starting height is 120 dots. This will not be lowered, but may be raised to accommodate a longer page.<br />
<br />
|- valign="top"<br />
| {{anchor|m_option}}<b>=m</b><#> || Left margin, measured in at 300 dots/inch. The default is 200 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|M_option}}<b>=M</b> || Include the contents of the MuseData source files in the trailer section of the file embedded in PostScript comments (if MuseData [[stage2]] files are used as input.<br />
<br />
|- valign="top"<br />
| {{anchor|n_option}}<b>=n</b><#> || Maximum number of systems on a page. The default is no maximum.<br />
<br />
|- valign="top"<br />
| {{anchor|p_option}}<b>=p</b> || The source is a concatenated set of page specific i-files (also called .mpg files), not a set of MuseData files.<br />
<br />
|- valign="top"<br />
| {{anchor|P_option}}<b>=P</b> || Include listings of the page specific i-files, which are the source of the output PostScript data. Each page is separated.<br />
<br />
|- valign="top"<br />
| {{anchor|Q_option}}<b>=Q</b><#> || Duration which is assigned the minimum distance.<br />
1 = whole notes<br />
... . . .<br />
8 = eighth notes<br />
16 = sixteenth notes, etc.<br />
<br />
|- valign="top"<br />
| {{anchor|s_option}}<b>=s</b>^string^ || Custom left-hand spine. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=s^[(....)][(..)](.)[({..}..)]^<br />
Each dot in the system bracketing string represents one part, with the first dot in the string representing the top staff of the system. If a grand staff is used for any part, then use the colon character (:) for that part. Staves which should be bracketed together are enclosed in square brackets: <tt>[]</tt>. Staves which should be braced together are enclosed in curly braces: <tt>{}</tt>. Staves which should be barred together (barlines connecting between staves) are enclosed in parentheses: <tt>()</tt>. The caret character (^) is used to mark the start and top of the option string. Subsequent options occur immediately after the second caret character with no intervening space.<br />
<br />
|- valign="top"<br />
| {{anchor|S_option}}<b>=S</b><#> || Add extra space between the title and the first system of music: 0 = use default, >0 = lower the first system (units are 1/300th of an inch).<br />
<br />
|- valign="top"<br />
|{{anchor|t_option}}<b>=t</b><#> || Top of page. Default is 120 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|T_option}}<b>=T</b>^string^ || Display the ''string'' as a title at the top of the (first) page. See <b>=u</b> for sub-title, and <b>=C</b> for composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|u_option}}<b>=u</b>^string^ || Display the ''string'' as a sub-title at the top of the (first) page. See <b>=T</b> for the title, and <b>=C</b> for the composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|v_option}}<b>=v</b><#,#,#...#> || Custom spacings. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=v192,192,192,208,192,208,176,176,176,200<br />
The above example setting for the =v option can be used for a system with 8 parts (such as 4 woodwinds, 2 horns, and 4 string instruments). The first seven values describe the spacing between each staff in the system, and the last value is the spacing between systems on the page. The spacing between staves and systems is constant with muse2ps. The spacing values are 1/10th of the distance between two staff lines, and the spacing value is the distance from the top of one staff to the top of the next staff (or the top of the last staff on a system to the top of the staff on the next system for the last value in the list). See the <tt>=g</tt> option for spacing the staves of a grand staff (such as for piano music). When a grand staff is part of a system with more parts, then the distance between the grand staff and the next system is the distance between the top of the bottom staff of the grand-staff pair and the top of the next staff.<br />
<br />
|- valign="top"<br />
| {{anchor|w_option}}<b>=w</b><#> || System width, measured in at 300 dots/inch. The default is 2050 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|W_option}}<b>=W</b>[#] || Thin barline flag. 0 = use regular barlines. 1 = use thin barlines. No number after <tt>=W</tt> means the same as <tt>=W0</tt>.<br />
<br />
|- valign="top"<br />
| {{anchor|x_option}}<b>=x</b> || Defeat all part inclusion suggestions in the data<br />
<br />
|- valign="top"<br />
| {{anchor|X_option}}<b>=X</b>[#] || Leave off the last barline (for short examples). 0 = print last bar, 1 = don't print last bar, <tt>=X</tt> without a number is equivalent to <tt>=X1</tt>. Note: you can add extra staff-line space in the last bar by putting in <tt>irest</tt>s, but you must put <tt>irest</tt>s in all parts, and they must all represent the same note-type (duration). Note also: If the last barline is anything but a regular measure line, it will continue to print.<br />
<br />
|- valign="top"<br />
|{{anchor|y_option}}<b>=y</b> || Defeat all line control suggestions in the data.<br />
<br />
|- valign="top"<br />
|{{anchor|Y_option}}<b>=Y</b><#> || Suppress printing first time signature in score. Used for printing small examples which have a time signature in the data, but none desired in graphical notation. You can also use a time signature in the data of "<tt>T:9/0</tt>" to generate a <i>hidden</i> time signature, and not giving a time signature at the start of a file will result in not time signature being printed. 0 = print initial time signatures (used to override options embedded in data). 1 = suppress first time signature (<tt>=Y</tt> is equivalent to <tt>=Y1</tt>).<br />
<br />
|- valign="top"<br />
| {{anchor|z_option}}<b>=z</b><#> || Music size: choices are 6,14,16,18,21. 14 is the default. This value describes the distance between staff lines in units of 300 dots per inch.<br />
<br />
|}<br />
<br />
== Multi-file input specification ==<br />
<br />
Normally individual MuseData [[stage2]] files contain a single part. These part files are concatenated together and sent via standard input into the muse2ps program. In order for the muse2ps program to be able to segment the separate part files from the original stream the marker "<tt>/eof</tt>" is added after the last line in each file, and the marker "<tt>//</tt>" is ''required'' after the end of all datafile input into muse2ps. <br />
<br />
Typically the last line of a [[stage2]] MuseData file consists of the string "<tt>/END</tt>" (in uppercase), so add the line "<tt>/eof</tt>" (in lowercase) after it: <br />
/END<br />
/eof<br />
<br />
The very last three lines of input to muse2ps should look like this:<br />
<br />
/END<br />
/eof<br />
//<br />
<br />
If you specify the =E option when running muse2ps, the "<tt>/END</tt>" markers will be used to segment the separate part files internally.<br />
<br />
The PERL script [[Media:collatemd2.pl|collatemd2]] (included with the source code to muse2ps) can be used to concatenate multiple [[stage2]] part files into a single input stream for muse2ps. The output of the PERL script can be saved to a file for later processing with muse2ps. In this case the recommended file extension for the multi-file MuseData content is <b>.md2</b> . Here are example uses of [[Media:collatemd2.pl|collatemd2]]:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
You many have to type "<tt>./collatemd2</tt>" instead of "<tt>collatemd2</tt>" if the PERL program is in the current directory and the current directory is not in the command search path. If you download the program from this page, remove the .pl extension when saving (and use a lowercase first letter for the filename). You may have to set the permissions to allow it to be run as a program with the unix command: <tt>chmod 0755 collatemd2</tt>.<br />
<br />
Alternatively, you can save the output from [[Media:collatemd2.pl|collatemd2]] into a file for later use with muse2ps:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] > [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]]<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
When downloading MuseData [[stage2]] files from http://www.musedata.org , the parts are all combined into a single multi-file MuseData file which is the equivalent to the output from [[Media:collatemd2.pl|collatemd2]].<br />
<br />
=== Multiple Music Page files ===<br />
<br />
When concatenating multiple Music Page (MPG) files, separate each file's content with a line with the single capital letter "P" on it. Example of how to do this on the command line, creating a PDF file:<br />
<br />
<source lang="bash"><br />
for i in ??<br />
do<br />
cat $i<br />
echo P<br />
done | muse2ps =p | ps2pdf - - > output.pdf<br />
</source><br />
<br />
N.B.: Probably two slashes also need to be added at the end of the last page; otherwise, it will not print:<br />
<br />
//<br />
<br />
== Color highlighting ==<br />
<br />
A soon-to-be-released update of muse2ps will allow for coloring of notes in the score. This colorization can be used in conjunction with displaying search results, or highlighting notes in an example. <br />
<br />
If you place an "R" character in column 14 for note (or rest) records, That note will be highlighted red. A capital "R" will also highlight the stem of the note, while a lower case "r" will color only the notehead. If multiple colored notes all share a common beam, then that beam is also highlighted.<br />
<br />
The letter "B" can be used in column 14 to color notes blue, and the letter "G" can be used to color notes green. The lowercase versions "r" and "g" can be used to color only the noteheads and not the stems.<br />
<br />
== Embedded options ==<br />
<br />
The <i>muse2ps</i> program can read options sent in the input data stream. Options can be embedded in the input data as single-line comments. In [[stage2]] files, single-line comments start with an at-sign (<tt>@</tt>) in the first column of the line. Following the comment marker comes an option identification string "<tt>muse2psv1</tt>", with "<tt>v1</tt>" being the option version level (currently level 1, and can be used in the future to keep options backwards and forwards compatible. Default options, listed in the previous section describing the options, can be overridden by using the default-option setting method which adds two equal signs in a row, followed by any options. Multiple default-option <br />
comments may occur to prevent the length of the line from getting too long (it is a good idea to limit the length of the line for full backwards compatibility with dmuse and [[stage2]] files, although the current line limit in dmuse/muse2ps is 900 characters).<br />
<br />
Option for specific music sizes can be set by placing the size option between the two equals signs in the option comment. Here is an example option comment header:<br />
<br />
@muse2psv1==z18<br />
@muse2psv1==T^Bach Chorale^u^bwv-277^C^J.S. Bach (1685-1750)^<br />
@muse2psv1=z14=v200,155,155,155j<br />
@muse2psv1=z18=v240,195,195,195j<br />
@muse2psv1=z21=v300,230,230,230j<br />
<br />
The first two lines are default-option settings for all music sizes. The first line sets the default music size to 18 if no size is given on the command line to muse2ps. The second line sets the title, subtitle, and composer fields on the title page. The last three lines set the vertical spacing between staves at various music sizes; the first for size 14, then size 18, and the last line for size 21.<br />
<br />
== ps2pdf options ==<br />
<br />
The default behavior of the ps2pdf program is to assume that the input data is formatted for A4 paper. The default output size for muse2ps is US letter. In order for ps2pdf to generate output pages with the correct dimensions, add the option <tt>-sPAPERSIZE=letter</tt> as an argument to the program:<br />
ps2pdf -sPAPERSIZE=letter<br />
<br />
Another pair of useful options (not needed for output from muse2ps, but useful when adding footers later) embeds the fonts used in the file:<br />
ps2pdf -sPAPERSIZE=letter -dCompatibilityLevel=1.4 -dPDFSETTINGS=/prepress<br />
<br />
For example the Symbol font is not present on the Apple iPad PDF viewer. When using the options in this example, the Symbol font (or the portion used) would be embedded in the file and therefore viewable on an iPad.<br />
<br />
== Creating images ==<br />
<br />
Graphical images can be created in various ways. A good method is to convert PostScript output from muse2ps to a bitmap image with the unix command-line program pstopnm. For smaller examples and converting to other images formtas, Imagemagick's convert is another command-line which is useful. Both pstopnm and convert are often pre-installed on linux computers, and both are available for free on the internet. They should also work with OS X, and can be used in MS Windows using [http://www.cygwin.com cygwin].<br />
<br />
To create an image pipe the output from muse2ps into pstopnm, and convert to a bitmapped image at 300 dots per inch. Next pipe the resulting image to convert for further processing. In the following example, the image is first trimmed from a full page to just the area which contains the printed music, then the image is resized to 33% of the original size for use on the web, and saved into a PNG file.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -resize '33%' [[Media:scale.png|scale.png]]<br />
<br />
=== Transparent background ===<br />
<br />
Use the options <tt>-negate -alpha copy -negate</tt> to make the background of the image transparent so that it can be displayed on any background color. Here is the example image which was just created with the above command:<br />
<br />
[[Image:scale.png]]<br />
<br />
Notice that the background color of the image is white, which becomes noticeable when placing the image on a non-white background color. Now create an image with a transparent background:<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -negate -alpha copy -negate \<br />
-resize '33%' [[Media:scale-transparent.png|scale.png]]<br />
<center><br />
<table cellspacing=0 cellpadding=3><tr bgcolor=#ffffff><td bgcolor=#4499aa><br />
[[Image:scale-transparent.png]]<br />
</td><td width=10><br />
<td bgcolor=#ffaa44>[[Image:scale-transparent.png]]<br />
</td></tr></table></center><br />
<br />
<br />
=== Images for printed publications ===<br />
<br />
To insert musical examples in a Microsoft or similar word processing program, do not resize the image, but leave it at the 300 dots per inch size of the original. Then you can rescale the image in the word processor as necessary. This will optimize the quality of the image in the final printout from the word processor.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim [[Media:scale-large.png|scale.png]]<br />
<br />
== Humdrum interface ==<br />
<br />
The muse2ps program can be used in conjunction with the [http://extra.humdrum.org/man/hum2muse hum2muse] program. Here is an example of how to create graphical music notation using the following Humdrum data as an example:<br />
<br />
<table cellspacing=0><tr bgcolor=white valign=top><td><htmlet>beethoven-kern</htmlet></td><br />
<td width=10></td><br />
<td> <br />
<pre><br />
hum2muse file.krn | muse2ps \<br />
| ps2pdf - - > file.png<br />
</pre><br />
[[Image:beethoven-kern.png]] <br />
<br><br />
<br><br />
<br><br />
</td><br />
</tr><br />
</table><br />
<br />
Images can be generated from Humdrum data online by pasting/typing data into the [http://kern.humdrum.org/cgi-bin/kern/kseditor Humdrum online editor]. For example, copy and paste the above Humdrum data into the left black box on the Humdrum online editor page, and the click on the red "Generate" button to produce an image of the graphical music using the default settings.<br />
<br />
Here is the intermediate MuseData which is passed between [http://extra.humdrum.org/man/hum2muse hum2muse] and muse2ps: [[Media:beethoven-kern.md2 | beethoven.md2]]. Try copying / pasting<br />
this data into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in the same music notation as seen above.<br />
<br />
== Zbex programs ==<br />
<br />
In the muse2ps source code directory, the sub-directory <tt>zprogs</tt> contains the [[zbex]] programs used to generate the file zfun32.c. Most necessary files needed to create [http://www.ccarh.org/software/muse2ps/muse2ps/zfun32.c zfun32.c] are in that directory, but perhaps not all of them. These programs are not used directly by muse2ps, but are compiled into zbex executable code within zfun32.c. The muse2ps is essentially a non-interactive version of [[dmuse]] (see http://dmuse.ccarh.org). The [[dmuse]] program is a text editor which also has a built-in [[zbex]] language interpreter and graphical music display capabilities. The interpreter portion of [[dmuse]] has been extracted for non-interactive use in muse2ps.<br />
<br />
== Examples == <br />
<br />
Further examples of MuseData [[stage2]] files converted into graphical music notation with muse2ps can be found on the [[MuseData examples]] page.<br />
<br />
== Feature requests and bug reports ==<br />
<br />
See the page: [[Muse2ps feature requests and bug reports]].</div>Edchttps://wiki.ccarh.org/index.php?title=Muse2ps&diff=10512Muse2ps2021-03-30T18:00:57Z<p>Edc: /* Embedded options */</p>
<hr />
<div>__TOC__<br />
<br />
== Overview == <br />
<br />
The <b>muse2ps</b> program is a command-line version of the [[autoset]], [[mskpage]] and [[pspage]] programs which are usually run within the [[dmuse]] editor using the built-in [[zbex language]] interpreter. The ''muse2ps'' program reads MuseData [[stage2]] data or [[page file]] data from standard input and converts them into PostScript data representing graphical musical notation which is sent to standard output. The following diagram illustrates the flow of data through ''muse2ps'':<br />
<br />
<br />
<center><br />
[[File:muse2ps-dataflow.svg]]<br />
</center><br />
<br />
The ''muse2ps'' program can accept two forms of input. By default, the ''muse2ps'' program will read multi-file [[stage2]] data from standard input. MuseData [[stage2]] files contain primarily symbolic musical data with possibly a little bit of formatting information (such as system and page breaks). The ''muse2ps'' program will format this symbolic music internally into [[page files]] which give explicit information about the placement of notes, slurs, beams, dynamics, lyrics, ''etc.'' on each page of music.<br />
<br />
Alternatively, if the <tt>=p</tt> option is given as an [[argument]] to ''muse2ps'', the program can read multi-file [[page files]] directly from standard input. Typically, [[stage2]] files are converted automatically into [[pages files]] and then further processing is done on these [[page files]] in order to produce a final typeset score of the graphical music notation. For example, the [[vskpage]] is used to refine the vertical spacing of staves and systems on a page of music within [[page files]], and [[eskpage]] is used to interactively edit the position of graphical elements within [[page files]].<br />
<br />
The only output from ''muse2ps'' (besides error messages) is PostScript data which describes the graphical music notation in a printable score of the music. This data can be further processed, such as sending directly to a PostScript printer, or converting into PDF files for web distrubution of the notated music. The representation of music notation within the PostScript file is in the form of bit-mapped musical fonts. The musical fonts are designed for use with 300 DPI resolution printers when printed at the native resolution (originally these fonts were designed for [http://en.wikipedia.org/wiki/Printer_Command_Language PCL-based printers]). These fonts have the unique feature of [http://en.wikipedia.org/wiki/Dither dithered] edges on sloped beams to minimize the visual effect of pixel stepping at 300 DPI resolution. Minor notation editing can be done on the PostScript/PDF files in programs such as Adobe Illustrator. If you print via PDF files, you may want to uncheck the page-scaling option in the printing program in order to avoid aliasing artifacts in the hard copy due to changing the intended size of the music on the page. <br />
<br />
Two other forms of data can be embedded within the PostScript output. If the <tt>=M</tt> option is given as an [[argument]] to the ''muse2ps'' program, then the original [[stage2]] data will be stored within comments in the PostScript data. Likewise, if the <tt>=P</tt> option is given, the [[page file]] data will be included in the PostScript output as comments. The [[page file]] data will either come from automatic generation using [[autoset]]/[[mskpage]], or from standard input if you use the <tt>=p</tt> option.<br />
<br />
There are also numerous options which primarily deal with the formatting of [[stage2]] files with the [[autoset]] and [[mskpage]] program components. See the [[#Options| options]] section below for a complete list of the options.<br />
<br />
== Download ==<br />
<br />
The ''muse2ps'' program executables for various operating systems or the source code can be downloaded from the following table. <b>Instructions for setting up the program for use can be found ''[[Muse2ps_installation_instructions| here]]''.</b><br />
<br />
<br />
<center><br />
{{muse2psdownloadtable}}<br />
</center><br />
<br />
== Online ==<br />
<br />
The ''muse2ps'' program can be run online at http://www.musedata.org/mdconverter . If you click on [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icons next to data found on the http://www.musedata.org website, the musical data will be loaded into this online converter from which PostScript, PDF, or PNG images of the music can be generated. <br />
<br />
For example, click on the [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icon on the information page for this [http://www.musedata.org/encodings/bach/bg/chorals/0428/ Bach chorale], then click on the {{keypress|Submit}} button on the converter page to generate a PDF file of the chorale with the default settings. Then try setting some options, such as using "<tt>[(.)(.)(.)(.)]</tt>" for the <b>System spine</b> option to prevent barlines from being drawn between staves in the score.<br />
<br />
You can create your own MuseData content and print with the online converter as well. Copy and paste the following MuseData content: [[Media:beethoven-kern.md2 | beethoven.md2]] into into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in this graphical music notation:<br />
<center><br />
[[Image:beethoven-kern.png]]<br />
</center><br />
<br />
== Command-line examples ==<br />
<br />
The simplest use of ''muse2ps'' is to send it MuseData [[stage2]] files as standard input, and save standard output from the program into a PostScript file:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps > [[Media:bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
<br />
You may need to use "<tt>./muse2ps</tt>" instead of "<tt>muse2ps</tt>" in the above command if the ''muse2ps'' program file is in the current directory, but the current directory is not in your [http://en.wikipedia.org/wiki/PATH_%28variable%29 command search path]. The PostScript output can then be further processed in an external program. Usually it is more convenient to work with the data as a PDF file. The process of converting PostScript to PDF can be done by many methods. For example, Acrobat Distiller or Acrobat Professional will convert PostScript files into PDF files. There are online converters, such as this one: http://www.ps2pdf.com/convert.htm . And on most linux computers you can convert PostScript into PDF files using the [http://pages.cs.wisc.edu/~ghost/doc/gnu/5.50/Ps2pdf.htm ps2pdf] command:<br />
ps2pdf [[Media:Bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
This will create the file [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]] (replacing the .ps extension with a .pdf extention automatically when saving the PDF file). If you click on the PDF file link in the previous sentence, you should see the musical notation for J.S. Bach's Well-Tempered Clavier, Book I, Prelude 1 in C major.<br />
<br />
An alternate method of using ps2pdf to generate a PDF file in a single step in conjunction with ''muse2ps'' would be with this command-line construction:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps | ps2pdf - > [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]]<br />
<br />
=== Last system justification ===<br />
<br />
By default ''muse2ps'' does not right-justify the last system of the music on the last page of the output (as can be seen in [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]]). If you<br />
want to justify the last system, use the <tt>=j</tt> option as an argument to ''muse2ps'':<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =j | ps2pdf - > [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]<br />
The ''muse2ps'' (or more precisely, the internal [[mskpage]] component) will possibly adjust line breaks on one or more of the previous systems in the score in order to fill enough music onto the last system, and then stretch or contract the music on the last system to fit the width between margins exactly. The <tt>=j</tt> option can potentially take significantly more time to process the input data than when it is omitted. The reason for the increased processing time can be seen by comparing [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]] and [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]. In order to right-justify the last system of the music, all systems in the music were recursively re-typeset so that the first system in the music contains only three measures instead of four.<br />
<br />
=== Grand-Staff vertical spacing ===<br />
<br />
The distance between staves in the grand staff (which is used for instruments such as the piano) can be controlled by the =g option. An integer number follows after the letter "g" in the option which specifies the distance between the two staves in terms of 1/10ths of the distance between staff lines. The default value for this option is =g100 which means that the distance between the top line of each staff is 10 staff lines.<br />
<br />
Here is an example of reducing the spacing between the staves to nothing. The =g50 option in this case means that the distance between the top of each staff is 5 staff lines. And since this is the height of a single staff, there will be no space between the two staves:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =g50 | ps2pdf - > [[Media:bach-wtc1p01-g50.pdf|bach-wtc1p01-g50.pdf]]<br />
<br />
<br />
=== Single-staff spacing in a system ===<br />
<br />
A ''system'' is a collection of staves which represent different instruments playing at the same time. The distance between these staves can be controlled with the =v option. Following =v is a list of comma-separated integers (with no intervening spaces). The unit for these numbers is the same as in the =g option: 1/10th of the distance between successive staff lines.<br />
<br />
The default spacing between staves will depend on whether they are supposed to be barred together or not. Here is the default spacing for four staves of a string quartet:<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
=== Using multiple options ===<br />
<br />
In the previous examples, the prelude is printed on two pages, with a single orphan system occurring on the second page. One way to force the music to fit onto a single page is to set the top margin from 120 pixels to 0 pixels with the option <tt>=t0</tt> and the printable length on the page to 3000 pixels (10 inches) with the option <tt>=l3000</tt>. When supplying multiple optional settings to muse2ps, there is only one option string which starts with the equals character (<tt>=</tt>) and is followed by all options with no spaces. Here is an example of using the <tt>=t0</tt>, <tt>=l3000</tt> and <tt>=j</tt> options at the same time, resulting in a single page of music:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =jt0l3000 | ps2pdf - > [[Media:bach-wtc1p01-jt0l3000.pdf|bach-wtc1p01-jt0l3000.pdf]]<br />
The order of the options in the option string is not important, so for example, "<tt>=l3000t0j</tt>" would yield the same results as "<tt>=jt0l3000</tt>".<br />
<br />
Instead of adjusting the vertical margins with the <tt>=t</tt> and <tt>=l</tt> options, you can also decrease the spacing between staves globally on the system. To do this, use the =v option followed by a list of distances between each staff on the system. In this example there are two staves in each system, so one value is expected after "=v". If there were three or more staves, then the vertical spacing values are separated by commas (and no spaces).<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =v160jt300 | ps2pdf - > [[Media:bach-wtc1p01-v160jt300.pdf|bach-wtc1p01-v160jt300.pdf]]<br />
<br />
In the above example, "<tt>=v160</tt>" means make the spacing between staves on the system slightly more than 1/2 an inch; "<tt>=j</tt>" means to right-justify the last system of music; and "<tt>t300</tt>" means add an extra inch to the top margin (the default setting is "<tt>=t120</tt>".<br />
<br />
=== Music size ===<br />
<br />
The ''muse2ps'' program can typeset music in several sizes: 6, 14, 16, 18 and 21. These numbers refer to the pixel count (at 300 DPI) between successive staff lines. For example, here is a zoom-in of music typeset using the size 6 font, where each staff line is one pixel wide, and there are 5 pixels in the gap between lines, making each staff line spaced every 6 pixels and hence the name "size 6":<br />
<br />
<center><br />
[[File:Dmuse-size6.png|411px]]<br />
</center><br />
<br />
<br />
The default size that ''muse2ps'' will typeset music in is size 14. To display the music at other sizes, use the <tt>=z</tt> option followed by the size. Here is the example prelude printed in all sizes (with right-justification of the last system using <tt>=j</tt> also added to the option string):<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z6j&nbsp;&nbsp;| ps2pdf - > [[Media:bach-wtc1p01-z6j.pdf|bach-wtc1p01-z6j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z14j | ps2pdf - > [[Media:bach-wtc1p01-z14j.pdf|bach-wtc1p01-z14j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z16j | ps2pdf - > [[Media:bach-wtc1p01-z16j.pdf|bach-wtc1p01-z16j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z18j | ps2pdf - > [[Media:bach-wtc1p01-z18j.pdf|bach-wtc1p01-z18j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z21j | ps2pdf - > [[Media:bach-wtc1p01-z21j.pdf|bach-wtc1p01-z21j.pdf]]<br />
<br />
Full-scores are typically printed at size 14 (particularly scores with many parts). Parts for performers are typically printed at sizes 18 or 21. Piano music is typically printed at size 16, and Size 18 has dither on two-pixel wide staff lines. The approximate equivalents to point sizes in regular text (multiplying by the factor 72/300 and then multiplying by 3):<br />
<br />
<center><br />
{| class="wikitable" cellpadding="0" cellspacing="0" border="0"<br />
|- |- {{Style|table header}}<br />
! scope="col" align="left" | MuseData music size<br />
! scope="col" align="left" | Staff height (mm)<br />
! score="col" align="left" | Approximate text font size<br />
! score="col" align="left" | Musical application<br />
|-<br />
| 6 || 2.03 mm || 4 pt || none<br />
|-<br />
| 14 || 4.74 mm || 10 pt || full scores<br />
|-<br />
| 16 || 5.42 mm || 11.5 pt || piano music, vocal scores<br />
|-<br />
| 18 || 6.10 mm || 13 pt || instrumental parts<br />
|-<br />
| 21 || 7.11 mm || 15 pt || large-size instrumental parts<br />
|}<br />
</center><br />
<br />
=== Extracting MPG intermediate data ===<br />
<br />
When a MuseData [[stage2]] file is converted into graphical music notation as PostScript output from ''muse2ps'', it will pass through two data transformation steps. The first step is a conversion from [[stage2]] data into non-page-specific [[i-files]] which is accomplished with the [[autoset]] component. Then these "non-page-specific" [[i-files]] are converted into "page-specific" [[page files|i-files]] (or Music Page (MPG) files) which describe the precise position of musical elements on each page of typeset music. This [[music page]] data can be extracted from the program surreptitiously by using the "=P" option. This will cause the [[MPG]] data to be embedded in comments within the PostScript output. Each page of MPG data will be stored in a sequence of comments starting with "<tt>%=BeginMPGData: 1</tt>", where <tt>1</tt> is the data for page one. And each page of MPG data is ended by the comment <tt>"%=EndMPGData: 1"</tt>.<br />
<br />
All MuseData/dmuse related comments in the PostScript output start with the comment marker "%=", so the MPG data can easily be separated from the PostScript content and other irrelevant comments in a manner such as this:<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =P | grep "^%=" > [[Media:Mpg-comments.txt|mpg-comments.txt]]<br />
The [[regular expression]] search string "<tt>^%=</tt>" used in the [http://en.wikipedia.org/wiki/Grep grep] command means extract lines from the input which start with the two characters "<tt>%=</tt>".<br />
<br />
A PERL utility program, called [[Media:unpackmpg.pl|unpackmpg]], for extracting the MPG data from the comments is included with the source code for ''muse2ps'':<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =Pg85jt200l3000 | [[Media:unpackmpg.pl|unpackmpg]] > [[Media:Mpg-comments.mpg|mpg-comments.mpg]]<br />
In the above command the options mean:<br />
* <tt>=P</tt>: Output [[music page]] data.<br />
* <tt>=g85</tt>: Set the distance between the staves in the grand staff to 8.5 staff lines (default is 100, or 10 staff lines).<br />
* <tt>=j</tt>: Right-justify the last system of the music.<br />
* <tt>=t200</tt>: Set the top margin to 2/3 of a inch below the base position.<br />
* <tt>=l3000</tt>: Set the vertical printable region to 10 inches.<br />
<br />
=== Inputting MPG data (adding a title) ===<br />
<br />
The extracted [[music page]] data from the previous section can be edited (such as to add a title) and then can be reprocessed by ''muse2ps'' to generate PostScript output:<br />
cat [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] | muse2ps =p | ps2pdf - > [[Media:Bach-wtc1p01-title.pdf|bach-wtc1p01-title.pdf]]<br />
<br />
In this case the file [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] is the equivalent to the MPG data generated by ''muse2ps'' in the previous section: [[Media:Mpg-comments.mpg|mpg-comments.mpg]], but with these three lines added to generate a title for the first page:<br />
<br />
<pre><br />
X 14<br />
X 46 1200C 0 Well-Tempered Clavier, Book I, Prelude 1 in C major<br />
X 37 1200C 50 BWV 846<br />
</pre><br />
<br />
The first line sets the font indexes relative to music size 14. The second line places the line at "1200C 0" which means center the line horizontally at location 1200 (4 inches from the left margin), and position the line vertically at position 0 (0 inches below the top margin).<br />
<br />
[[Music page]] data for many of the score on http://www.musedata.org are available as both [[stage2]] files and [[music page]] files. Using the [[music page]] files as input to ''muse2ps'' will generate better graphical notation results, since the automatically typeset data from the [[stage2]] files has been proofread and adjusted by a human.<br />
<br />
== Options ==<br />
<br />
Below is a list of the options which muse2ps understands. Options are given<br />
as the first (and only) argument to the program, starting with an equals sign (=), then followed by the options in any order, with no spaces between the options. For example, to set the music size to 18 and right-justify the last system on the last page, use the option string =z21j:<br />
cat file.md2 | muse2ps =z21j > file.ps<br />
When using characters which may be parsed by the command-line interpreter, you will have to enclose the option string in single quotes (you can do this all of the time if you are uncertain of the conditions in which they would be required):<br />
cat file.md2 | muse2ps '=z21js^{(..}}^T^title^' | ps2pdf - > file.pdf<br />
<br />
In option strings such as "=c<#>", replace <#> with an integer. <tt>[#]</tt> indicates an optional number.<br />
<br />
{|class="wikitable" cellpadding="0" cellspacing="0" border="0" style="width:100%"<br />
|- {{Style|table header}}<br />
! scope="col" width="100px" align="center"| muse2ps option index<br />
|-<br />
| <div style="column-count:3;-moz-column-count:3;-webkit-column-count:3"><br />
* {{nowrap|{{mopt|c}} compression}}<br />
* {{nowrap|{{mopt|C}} composer}}<br />
* {{nowrap|{{mopt|d}} diagnostics}}<br />
* {{nowrap|{{mopt|D}} dash spacing}}<br />
* {{nowrap|{{mopt|E}} eof insertion}}<br />
* {{nowrap|{{mopt|f}} fill by staff}}<br />
* {{nowrap|{{mopt|F}} fill by system}}<br />
* {{nowrap|{{mopt|g}} grand staff spacing}}<br />
* {{nowrap|{{mopt|G}} group selection}}<br />
* {{nowrap|{{mopt|h}} note space}}<br />
* {{nowrap|{{mopt|i}} indentation flag}}<br />
* {{nowrap|{{mopt|I}} indentation amount}}<br />
* {{nowrap|{{mopt|j}} justification}}<br />
* {{nowrap|{{mopt|k}} display options}}<br />
* {{nowrap|{{mopt|l}} page length}}<br />
* {{nowrap|{{mopt|m}} left margin}}<br />
* {{nowrap|{{mopt|M}} embed stage2 data}}<br />
* {{nowrap|{{mopt|n}} number of systems}}<br />
* {{nowrap|{{mopt|p}} page files input}}<br />
* {{nowrap|{{mopt|P}} embed page files}}<br />
* {{nowrap|{{mopt|Q}} minimum distance duration}}<br />
* {{nowrap|{{mopt|s}} system spine}}<br />
* {{nowrap|{{mopt|S}} title/system space}}<br />
* {{nowrap|{{mopt|t}} top margin}}<br />
* {{nowrap|{{mopt|T}} title}}<br />
* {{nowrap|{{mopt|u}} subtitle}}<br />
* {{nowrap|{{mopt|v}} staff spacing}}<br />
* {{nowrap|{{mopt|w}} system width}}<br />
* {{nowrap|{{mopt|W}} thin barlines}}<br />
* {{nowrap|{{mopt|x}} no suggestions}}<br />
* {{nowrap|{{mopt|X}} no last barline}}<br />
* {{nowrap|{{mopt|y}} no line controls}}<br />
* {{nowrap|{{mopt|Y}} no initial time signature}}<br />
* {{nowrap|{{mopt|z}} music size}}<br />
</div><br />
|}<br />
<br><br />
<br />
See also the Dmuse text file [[Media:muse2ps-options.dm | options.dm]], or the HTML equivalent [[Media:muse2ps-options.html| options.html]] for a brief description of each option.<br />
<br />
{| style="background-color:white" cellpadding="4"<br />
|- valign="top"<br />
| {{anchor|c_option}}<b>=c</b><#>|| Compression factor: This is measured as a percentage of the default. 100 = no compression (100%). Use smaller values to decrease the spacing between notes (allowing fewer pages in the score). Values larger than 100 will expand the distance between notes (increasing the number of pages in the score). This option is useful to force the last system of music to occur at the bottom of a page.<br />
<br />
|- valign="top"<br />
|{{anchor|C_option}}<b>=C</b>^string^ || Display the ''string'' as the composer's name at the top right side of the first page. See <b>=T</b> for the title, and <b>=u</b> for the sub-title. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|d_option}}<b>=d</b><#> || Diagnostics and Error Messages.<br />
bit 0 of #: ON = print error messages<br />
bit 1 of #: ON = print all diagnostics<br />
bit 2 of #: ON = print diagnostics from autoset<br />
bit 3 of #: ON = print diagnostics from mskpage<br />
bit 4 of #: ON = print diagnostics from pspage<br />
no number = 0x01: print error messages<br />
For example, =d31 turns on all error message toggles. This option is useful if the output PostScript data from muse2ps is empty. The messages go to standard error, while the PostScript data goes to standard output. Therefore, you can print the error messages and still save or pipe the PostScript data without the error messages mixing with the output data.<br />
<br />
|- valign="top"<br />
| {{anchor|D_option}}<b>=D</b> || Spacing between dashes. Will override spacing in stage2 files: 0 = use default, >0 = space between dashes (units are dash-length).<br />
<br />
|- valign="top"<br />
| {{anchor|E_option}}<b>=E</b> || <tt>/END</tt> = <tt>/eof</tt>. The muse2ps program allows for multiple parts to be entered from standard input in a single stream of data. Normally the data files representing each part are separated from each other by a line containing only "<tt>/eof</tt>" (lowercase; meaning "End of File"). Separate MuseData [[stage2]] files do not typically end in "<tt>/eof</tt>", but rather, they are required to contain the line "<tt>/END</tt>" (uppercase) to indicate the end of the data. After "<tt>/END</tt>", any textual comments are allowed. With the =E option, you do not need to separate files by "<tt>/eof</tt>", and instead, the next file in the sequence will start on the line coming after "<tt>/END</tt>". Note, however, that you cannot use the =E option if there is any commentary after "<tt>/END</tt>" in a file.<br />
<br />
|- valign="top"<br />
| {{anchor|f_option}}<b>=f</b> || Fill pages to the bottom by proportionally stretching all spacings. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|F_option}}<b>=F</b> || Fill pages to the bottom by adding to the intersystem space only. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|g_option}}<b>=g</b><#>|| Grand staff intra-space measured in multiples of ledger lines times 10. The default is 100, which is 10 ledger lines. Note that this distance reference is different from the =v values which define the distance from the top of one staff to the top of the next staff. For the =g, option, the distance is from the bottom of the top staff to the top of the bottom staff.<br />
<br />
|- valign="top"<br />
| {{anchor|G_option}}<b>=G</b>^group-name^ || Group name to process. The default is "score". Available groups are found on data line 11 at the top of each MuseData [[stage2]] file (excluding any single- or multi-line comments). Other possibilities might be "part" or "data".<br />
<br />
|- valign="top"<br />
| {{anchor|h_option}}<b>=h</b><#> || Alter the minimum allowed space between notes. This is measured as a percentage of the default. 100 = no change (100%).<br />
<br />
|- valign="top"<br />
|{{anchor|i_option}}<b>=i</b><#> || Initial system indentation options flag.<br />
* 0 = use program defaults (set indentation with <tt>=I</tt> option)<br />
* 1 = no indentation of first system of music<br />
* 2 = indent first system, and after every forced system break<br />
<br />
|- valign="top"<br />
| {{anchor|I_option}}<b>=I</b><#> || Specify the indentation amount for the first system in the music. If zero, then default indentation amount will be used. (see the <tt>=i</tt> option for turning off indentation).<br />
<br />
|- valign="top"<br />
|{{anchor|j_option}}<b>=j</b> || Right-justify the last system of the music so that it extends all of the way across the page. The default is NOT to right justify. Right-justification is a recursive process where measures from previous systems may be moved ahead in the score to cause all systems to have approximately the same note density.<br />
<br />
|- valign="top"<br />
| {{anchor|k_option}}<b>=k</b>^0x<tt>#</tt>^ || Display alternative options. Options are stored in a hexadecimal number prefixed with the string "<tt>0x</tt>" (C program-styled hex number). The default values are the 0 bit settings. The meaning of the bits in the hexadecimal number are (from least significant to most significant bit):<br />
<br />
<table cellpadding=0 cellspacing=0><br />
<tr valign=baseline><th>bit</th><td width=10></td><th>meaning</th></tr><br />
<br />
<tr valign=baseline><td>0</td><td></td><td><br />
<b>k-option activation flag</b><br />
* 1: <i>k</i> option is active; read options in more significant bits<br />
* 0: <i>k</i> option is inactive; used to turn off this option as a command-line override<br />
</td></tr><br />
<br />
<tr valign=baseline><td>1</td><td></td><td><br />
<b>Sforzando/rfz flag</b><br />
* 0: display sforzando as sf (rf)<br />
* 1: display sforzando as sfz (rfz)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>2</td><td></td><td><br />
<b>Sub-edit flag</b><br />
* 0: display editorial markup differently from regular data (such as adding brackets around editorial elements)<br />
* 1: do not display editorial data differently from regular data<br />
</td></tr><br />
<br />
<tr valign=baseline><td>3</td><td></td><td><br />
<b>No-editorial flag</b><br />
* 0: display editorial markup data<br />
* 1: do not display editorial markup data<br />
</td></tr><br />
<br />
<tr valign=baseline><td>4</td><td></td><td><br />
<b> Editorial markup in Roman font flag</b><br />
* 0: use cue-size music fonts for editorial marks<br />
* 1: use Times-Roan font for editorial marks: tr, dynamics<br />
</td></tr><br />
<br />
<tr valign=baseline><td>5</td><td></td><td><br />
<b>Ligature flag</b><br />
* 0: do not use ligatures in text<br />
* 1: use ligatures for "ffl", "ffi", "ff", "fl", and "fi"<br />
</td></tr><br />
<br />
<tr valign=baseline><td>6</td><td></td><td><br />
<b>Figured harmony flag</b><br />
* 0: place figured harmony (figured bass) below the staff<br />
* 1: place figured harmony (figured bass) above the staff<br />
</td></tr><br />
<br />
<tr valign=baseline><td>7</td><td></td><td><br />
<b> mheavy4 barline style flag</b><br />
* 0: mheavy4 barline represented by two heavy lines<br />
* 1: mheavy4 barline represented by one thin, one thick, and then another thin line<br />
</td></tr><br />
<br />
<tr valign=baseline><td>8</td><td></td><td><br />
<b>Multi-voice augmentation dot option</b><br />
* 0: allow overstrike of dots in different voices<br />
* 1: do not allow overstrike<br />
</td></tr><br />
<br />
<tr valign=baseline><td>9</td><td></td><td><br />
<b>New key signatures option</b><br />
* 0: don't print a new key signature if it is the same as the previous one on the staff<br />
* 1: print a new key signature even if it repeats the previous key signature on the staff<br />
</td></tr><br />
<br />
<tr valign=baseline><td>10</td><td></td><td><br />
<b>Mixed duration chords</b><br />
* 0: don't allow a mixture of white and black notes in chords<br />
* 1: allow mixture of white and black notes in chords<br />
</td></tr><br />
<br />
<tr valign=baseline><td>11</td><td></td><td><br />
<b>Suppress key signature flag </b><br />
* 0: display key signatures<br />
* 1: suppress printing of the key signature (such as for timpani parts)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>12</td><td></td><td><br />
<b>Editorial slurs flag</b><br />
* 0: all slurs are regular<br />
* 1: <tt>{ }</tt> and <tt>z x</tt> slurs are editorial slurs (dashed slurs)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>13</td><td></td><td><br />
<b>New clef sign flag </b><br />
* 0: large clefs at start of system, cue-size clefs for clef changes<br />
* 1: always use large clefs<br />
</td></tr><br />
<br />
</table><br />
<br />
|- valign="top"<br />
| {{anchor|l_option}}<b>=l</b><#>|| Length of a page. Distance is measured dots, at 300 dots to the inch. Default is 2740 dots. The default starting height is 120 dots. This will not be lowered, but may be raised to accommodate a longer page.<br />
<br />
|- valign="top"<br />
| {{anchor|m_option}}<b>=m</b><#> || Left margin, measured in at 300 dots/inch. The default is 200 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|M_option}}<b>=M</b> || Include the contents of the MuseData source files in the trailer section of the file embedded in PostScript comments (if MuseData [[stage2]] files are used as input.<br />
<br />
|- valign="top"<br />
| {{anchor|n_option}}<b>=n</b><#> || Maximum number of systems on a page. The default is no maximum.<br />
<br />
|- valign="top"<br />
| {{anchor|p_option}}<b>=p</b> || The source is a concatenated set of page specific i-files (also called .mpg files), not a set of MuseData files.<br />
<br />
|- valign="top"<br />
| {{anchor|P_option}}<b>=P</b> || Include listings of the page specific i-files, which are the source of the output PostScript data. Each page is separated.<br />
<br />
|- valign="top"<br />
| {{anchor|Q_option}}<b>=Q</b><#> || Duration which is assigned the minimum distance.<br />
1 = whole notes<br />
... . . .<br />
8 = eighth notes<br />
16 = sixteenth notes, etc.<br />
<br />
|- valign="top"<br />
| {{anchor|s_option}}<b>=s</b>^string^ || Custom left-hand spine. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=s^[(....)][(..)](.)[({..}..)]^<br />
Each dot in the system bracketing string represents one part, with the first dot in the string representing the top staff of the system. If a grand staff is used for any part, then use the colon character (:) for that part. Staves which should be bracketed together are enclosed in square brackets: <tt>[]</tt>. Staves which should be braced together are enclosed in curly braces: <tt>{}</tt>. Staves which should be barred together (barlines connecting between staves) are enclosed in parentheses: <tt>()</tt>. The caret character (^) is used to mark the start and top of the option string. Subsequent options occur immediately after the second caret character with no intervening space.<br />
<br />
|- valign="top"<br />
| {{anchor|S_option}}<b>=S</b><#> || Add extra space between the title and the first system of music: 0 = use default, >0 = lower the first system (units are 1/300th of an inch).<br />
<br />
|- valign="top"<br />
|{{anchor|t_option}}<b>=t</b><#> || Top of page. Default is 120 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|T_option}}<b>=T</b>^string^ || Display the ''string'' as a title at the top of the (first) page. See <b>=u</b> for sub-title, and <b>=C</b> for composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|u_option}}<b>=u</b>^string^ || Display the ''string'' as a sub-title at the top of the (first) page. See <b>=T</b> for the title, and <b>=C</b> for the composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|v_option}}<b>=v</b><#,#,#...#> || Custom spacings. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=v192,192,192,208,192,208,176,176,176,200<br />
The above example setting for the =v option can be used for a system with 8 parts (such as 4 woodwinds, 2 horns, and 4 string instruments). The first seven values describe the spacing between each staff in the system, and the last value is the spacing between systems on the page. The spacing between staves and systems is constant with muse2ps. The spacing values are 1/10th of the distance between two staff lines, and the spacing value is the distance from the top of one staff to the top of the next staff (or the top of the last staff on a system to the top of the staff on the next system for the last value in the list). See the <tt>=g</tt> option for spacing the staves of a grand staff (such as for piano music). When a grand staff is part of a system with more parts, then the distance between the grand staff and the next system is the distance between the top of the bottom staff of the grand-staff pair and the top of the next staff.<br />
<br />
|- valign="top"<br />
| {{anchor|w_option}}<b>=w</b><#> || System width, measured in at 300 dots/inch. The default is 2050 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|W_option}}<b>=W</b>[#] || Thin barline flag. 0 = use regular barlines. 1 = use thin barlines. No number after <tt>=W</tt> means the same as <tt>=W0</tt>.<br />
<br />
|- valign="top"<br />
| {{anchor|x_option}}<b>=x</b> || Defeat all part inclusion suggestions in the data<br />
<br />
|- valign="top"<br />
| {{anchor|X_option}}<b>=X</b>[#] || Leave off the last barline (for short examples). 0 = print last bar, 1 = don't print last bar, <tt>=X</tt> without a number is equivalent to <tt>=X1</tt>. Note: you can add extra staff-line space in the last bar by putting in <tt>irest</tt>s, but you must put <tt>irest</tt>s in all parts, and they must all represent the same note-type (duration). Note also: If the last barline is anything but a regular measure line, it will continue to print.<br />
<br />
|- valign="top"<br />
|{{anchor|y_option}}<b>=y</b> || Defeat all line control suggestions in the data.<br />
<br />
|- valign="top"<br />
|{{anchor|Y_option}}<b>=Y</b><#> || Suppress printing first time signature in score. Used for printing small examples which have a time signature in the data, but none desired in graphical notation. You can also use a time signature in the data of "<tt>T:9/0</tt>" to generate a <i>hidden</i> time signature, and not giving a time signature at the start of a file will result in not time signature being printed. 0 = print initial time signatures (used to override options embedded in data). 1 = suppress first time signature (<tt>=Y</tt> is equivalent to <tt>=Y1</tt>).<br />
<br />
|- valign="top"<br />
| {{anchor|z_option}}<b>=z</b><#> || Music size: choices are 6,14,16,18,21. 14 is the default. This value describes the distance between staff lines in units of 300 dots per inch.<br />
<br />
|}<br />
<br />
== Multi-file input specification ==<br />
<br />
Normally individual MuseData [[stage2]] files contain a single part. These part files are concatenated together and sent via standard input into the muse2ps program. In order for the muse2ps program to be able to segment the separate part files from the original stream the marker "<tt>/eof</tt>" is added after the last line in each file, and the marker "<tt>//</tt>" is ''required'' after the end of all datafile input into muse2ps. <br />
<br />
Typically the last line of a [[stage2]] MuseData file consists of the string "<tt>/END</tt>" (in uppercase), so add the line "<tt>/eof</tt>" (in lowercase) after it: <br />
/END<br />
/eof<br />
<br />
The very last three lines of input to muse2ps should look like this:<br />
<br />
/END<br />
/eof<br />
//<br />
<br />
If you specify the =E option when running muse2ps, the "<tt>/END</tt>" markers will be used to segment the separate part files internally.<br />
<br />
The PERL script [[Media:collatemd2.pl|collatemd2]] (included with the source code to muse2ps) can be used to concatenate multiple [[stage2]] part files into a single input stream for muse2ps. The output of the PERL script can be saved to a file for later processing with muse2ps. In this case the recommended file extension for the multi-file MuseData content is <b>.md2</b> . Here are example uses of [[Media:collatemd2.pl|collatemd2]]:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
You many have to type "<tt>./collatemd2</tt>" instead of "<tt>collatemd2</tt>" if the PERL program is in the current directory and the current directory is not in the command search path. If you download the program from this page, remove the .pl extension when saving (and use a lowercase first letter for the filename). You may have to set the permissions to allow it to be run as a program with the unix command: <tt>chmod 0755 collatemd2</tt>.<br />
<br />
Alternatively, you can save the output from [[Media:collatemd2.pl|collatemd2]] into a file for later use with muse2ps:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] > [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]]<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
When downloading MuseData [[stage2]] files from http://www.musedata.org , the parts are all combined into a single multi-file MuseData file which is the equivalent to the output from [[Media:collatemd2.pl|collatemd2]].<br />
<br />
=== Multiple Music Page files ===<br />
<br />
When concatenating multiple Music Page (MPG) files, separate each file's content with a line with the single capital letter "P" on it. Example of how to do this on the command line, creating a PDF file:<br />
<br />
<source lang="bash"><br />
for i in ??<br />
do<br />
cat $i<br />
echo P<br />
done | muse2ps =p | ps2pdf - - > output.pdf<br />
</source><br />
<br />
N.B.: Probably two slashes also need to be added at the end of the last page; otherwise, it will not print:<br />
<br />
//<br />
<br />
== Color highlighting ==<br />
<br />
A soon-to-be-released update of muse2ps will allow for coloring of notes in the score. This colorization can be used in conjunction with displaying search results, or highlighting notes in an example. <br />
<br />
If you place an "R" character in column 14 for note (or rest) records, That note will be highlighted red. A capital "R" will also highlight the stem of the note, while a lower case "r" will color only the notehead. If multiple colored notes all share a common beam, then that beam is also highlighted.<br />
<br />
The letter "B" can be used in column 14 to color notes blue, and the letter "G" can be used to color notes green. The lowercase versions "r" and "g" can be used to color only the noteheads and not the stems.<br />
<br />
== Embedded options ==<br />
<br />
The <i>muse2ps</i> program can read options sent in the input data stream. Options can be embedded in the input data as single-line comments. In [[stage2]] files, single-line comments start with an at-sign (<tt>@</tt>) in the first column of the line. Following the comment marker comes an option identification string "<tt>muse2psv1</tt>", with "<tt>v1</tt>" being the option version level (currently level 1, and can be used in the future to keep options backwards and forwards compatible. Default options, listed in the previous section describing the options, can be overridden by using the default-option setting method which adds two equal signs in a row, followed by any options. Multiple default-option <br />
comments may occur to prevent the length of the line from getting too long (it is a good idea to limit the length of the line for full backwards compatibility with dmuse and [[stage2]] files, although the current line limit in dmuse/muse2ps is 900 characters).<br />
<br />
Option for specific music sizes can be set by placing the size option between the two equals signs in the option comment. Here is an example option comment header:<br />
<br />
@muse2psv1==z18<br />
@muse2psv1==T^Bach Chorale^u^bwv-277^C^J.S. Bach (1685-1750)^<br />
@muse2psv1=z14=v200,155,155,155j<br />
@muse2psv1=z18=v240,195,195,195j<br />
@muse2psv1=z21=v300,230,230,230j<br />
<br />
The first two lines are default-option settings for all music sizes. The first line sets the default music size to 18 if no size is given on the command line to muse2ps. The second line sets the title, subtitle, and composer fields on the title page. The last three lines set the vertical spacing between staves at various music sizes; the first for size 14, then size 18, and the last line for size 21.<br />
<br />
== ps2pdf options ==<br />
<br />
The default behavior of the ps2pdf program is to assume that the input data is formatted for A4 paper. The default output size for muse2ps is US letter. In order for ps2pdf to generate output pages with the correct dimensions, add the option <tt>-sPAPERSIZE=letter</tt> as an argument to the program:<br />
ps2pdf -sPAPERSIZE=letter<br />
<br />
Another pair of useful options (not needed for output from muse2ps, but useful when adding footers at later states in data program) embed the fonts used in the file:<br />
ps2pdf -sPAPERSIZE=letter -dCompatibilityLevel=1.4 -dPDFSETTINGS=/prepress<br />
<br />
For example the Symbol font is not present on the Apple iPad PDF viewer. When using the options in this example, the Symbol font (or the portion used) would be embedded in the file and therefore viewable on an iPad.<br />
<br />
== Creating images ==<br />
<br />
Graphical images can be created in various ways. A good method is to convert PostScript output from muse2ps to a bitmap image with the unix command-line program pstopnm. For smaller examples and converting to other images formtas, Imagemagick's convert is another command-line which is useful. Both pstopnm and convert are often pre-installed on linux computers, and both are available for free on the internet. They should also work with OS X, and can be used in MS Windows using [http://www.cygwin.com cygwin].<br />
<br />
To create an image pipe the output from muse2ps into pstopnm, and convert to a bitmapped image at 300 dots per inch. Next pipe the resulting image to convert for further processing. In the following example, the image is first trimmed from a full page to just the area which contains the printed music, then the image is resized to 33% of the original size for use on the web, and saved into a PNG file.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -resize '33%' [[Media:scale.png|scale.png]]<br />
<br />
=== Transparent background ===<br />
<br />
Use the options <tt>-negate -alpha copy -negate</tt> to make the background of the image transparent so that it can be displayed on any background color. Here is the example image which was just created with the above command:<br />
<br />
[[Image:scale.png]]<br />
<br />
Notice that the background color of the image is white, which becomes noticeable when placing the image on a non-white background color. Now create an image with a transparent background:<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -negate -alpha copy -negate \<br />
-resize '33%' [[Media:scale-transparent.png|scale.png]]<br />
<center><br />
<table cellspacing=0 cellpadding=3><tr bgcolor=#ffffff><td bgcolor=#4499aa><br />
[[Image:scale-transparent.png]]<br />
</td><td width=10><br />
<td bgcolor=#ffaa44>[[Image:scale-transparent.png]]<br />
</td></tr></table></center><br />
<br />
<br />
=== Images for printed publications ===<br />
<br />
To insert musical examples in a Microsoft or similar word processing program, do not resize the image, but leave it at the 300 dots per inch size of the original. Then you can rescale the image in the word processor as necessary. This will optimize the quality of the image in the final printout from the word processor.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim [[Media:scale-large.png|scale.png]]<br />
<br />
== Humdrum interface ==<br />
<br />
The muse2ps program can be used in conjunction with the [http://extra.humdrum.org/man/hum2muse hum2muse] program. Here is an example of how to create graphical music notation using the following Humdrum data as an example:<br />
<br />
<table cellspacing=0><tr bgcolor=white valign=top><td><htmlet>beethoven-kern</htmlet></td><br />
<td width=10></td><br />
<td> <br />
<pre><br />
hum2muse file.krn | muse2ps \<br />
| ps2pdf - - > file.png<br />
</pre><br />
[[Image:beethoven-kern.png]] <br />
<br><br />
<br><br />
<br><br />
</td><br />
</tr><br />
</table><br />
<br />
Images can be generated from Humdrum data online by pasting/typing data into the [http://kern.humdrum.org/cgi-bin/kern/kseditor Humdrum online editor]. For example, copy and paste the above Humdrum data into the left black box on the Humdrum online editor page, and the click on the red "Generate" button to produce an image of the graphical music using the default settings.<br />
<br />
Here is the intermediate MuseData which is passed between [http://extra.humdrum.org/man/hum2muse hum2muse] and muse2ps: [[Media:beethoven-kern.md2 | beethoven.md2]]. Try copying / pasting<br />
this data into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in the same music notation as seen above.<br />
<br />
== Zbex programs ==<br />
<br />
In the muse2ps source code directory, the sub-directory <tt>zprogs</tt> contains the [[zbex]] programs used to generate the file zfun32.c. Most necessary files needed to create [http://www.ccarh.org/software/muse2ps/muse2ps/zfun32.c zfun32.c] are in that directory, but perhaps not all of them. These programs are not used directly by muse2ps, but are compiled into zbex executable code within zfun32.c. The muse2ps is essentially a non-interactive version of [[dmuse]] (see http://dmuse.ccarh.org). The [[dmuse]] program is a text editor which also has a built-in [[zbex]] language interpreter and graphical music display capabilities. The interpreter portion of [[dmuse]] has been extracted for non-interactive use in muse2ps.<br />
<br />
== Examples == <br />
<br />
Further examples of MuseData [[stage2]] files converted into graphical music notation with muse2ps can be found on the [[MuseData examples]] page.<br />
<br />
== Feature requests and bug reports ==<br />
<br />
See the page: [[Muse2ps feature requests and bug reports]].</div>Edchttps://wiki.ccarh.org/index.php?title=Muse2ps&diff=10511Muse2ps2021-03-30T17:48:15Z<p>Edc: /* Color highlighting */</p>
<hr />
<div>__TOC__<br />
<br />
== Overview == <br />
<br />
The <b>muse2ps</b> program is a command-line version of the [[autoset]], [[mskpage]] and [[pspage]] programs which are usually run within the [[dmuse]] editor using the built-in [[zbex language]] interpreter. The ''muse2ps'' program reads MuseData [[stage2]] data or [[page file]] data from standard input and converts them into PostScript data representing graphical musical notation which is sent to standard output. The following diagram illustrates the flow of data through ''muse2ps'':<br />
<br />
<br />
<center><br />
[[File:muse2ps-dataflow.svg]]<br />
</center><br />
<br />
The ''muse2ps'' program can accept two forms of input. By default, the ''muse2ps'' program will read multi-file [[stage2]] data from standard input. MuseData [[stage2]] files contain primarily symbolic musical data with possibly a little bit of formatting information (such as system and page breaks). The ''muse2ps'' program will format this symbolic music internally into [[page files]] which give explicit information about the placement of notes, slurs, beams, dynamics, lyrics, ''etc.'' on each page of music.<br />
<br />
Alternatively, if the <tt>=p</tt> option is given as an [[argument]] to ''muse2ps'', the program can read multi-file [[page files]] directly from standard input. Typically, [[stage2]] files are converted automatically into [[pages files]] and then further processing is done on these [[page files]] in order to produce a final typeset score of the graphical music notation. For example, the [[vskpage]] is used to refine the vertical spacing of staves and systems on a page of music within [[page files]], and [[eskpage]] is used to interactively edit the position of graphical elements within [[page files]].<br />
<br />
The only output from ''muse2ps'' (besides error messages) is PostScript data which describes the graphical music notation in a printable score of the music. This data can be further processed, such as sending directly to a PostScript printer, or converting into PDF files for web distrubution of the notated music. The representation of music notation within the PostScript file is in the form of bit-mapped musical fonts. The musical fonts are designed for use with 300 DPI resolution printers when printed at the native resolution (originally these fonts were designed for [http://en.wikipedia.org/wiki/Printer_Command_Language PCL-based printers]). These fonts have the unique feature of [http://en.wikipedia.org/wiki/Dither dithered] edges on sloped beams to minimize the visual effect of pixel stepping at 300 DPI resolution. Minor notation editing can be done on the PostScript/PDF files in programs such as Adobe Illustrator. If you print via PDF files, you may want to uncheck the page-scaling option in the printing program in order to avoid aliasing artifacts in the hard copy due to changing the intended size of the music on the page. <br />
<br />
Two other forms of data can be embedded within the PostScript output. If the <tt>=M</tt> option is given as an [[argument]] to the ''muse2ps'' program, then the original [[stage2]] data will be stored within comments in the PostScript data. Likewise, if the <tt>=P</tt> option is given, the [[page file]] data will be included in the PostScript output as comments. The [[page file]] data will either come from automatic generation using [[autoset]]/[[mskpage]], or from standard input if you use the <tt>=p</tt> option.<br />
<br />
There are also numerous options which primarily deal with the formatting of [[stage2]] files with the [[autoset]] and [[mskpage]] program components. See the [[#Options| options]] section below for a complete list of the options.<br />
<br />
== Download ==<br />
<br />
The ''muse2ps'' program executables for various operating systems or the source code can be downloaded from the following table. <b>Instructions for setting up the program for use can be found ''[[Muse2ps_installation_instructions| here]]''.</b><br />
<br />
<br />
<center><br />
{{muse2psdownloadtable}}<br />
</center><br />
<br />
== Online ==<br />
<br />
The ''muse2ps'' program can be run online at http://www.musedata.org/mdconverter . If you click on [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icons next to data found on the http://www.musedata.org website, the musical data will be loaded into this online converter from which PostScript, PDF, or PNG images of the music can be generated. <br />
<br />
For example, click on the [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icon on the information page for this [http://www.musedata.org/encodings/bach/bg/chorals/0428/ Bach chorale], then click on the {{keypress|Submit}} button on the converter page to generate a PDF file of the chorale with the default settings. Then try setting some options, such as using "<tt>[(.)(.)(.)(.)]</tt>" for the <b>System spine</b> option to prevent barlines from being drawn between staves in the score.<br />
<br />
You can create your own MuseData content and print with the online converter as well. Copy and paste the following MuseData content: [[Media:beethoven-kern.md2 | beethoven.md2]] into into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in this graphical music notation:<br />
<center><br />
[[Image:beethoven-kern.png]]<br />
</center><br />
<br />
== Command-line examples ==<br />
<br />
The simplest use of ''muse2ps'' is to send it MuseData [[stage2]] files as standard input, and save standard output from the program into a PostScript file:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps > [[Media:bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
<br />
You may need to use "<tt>./muse2ps</tt>" instead of "<tt>muse2ps</tt>" in the above command if the ''muse2ps'' program file is in the current directory, but the current directory is not in your [http://en.wikipedia.org/wiki/PATH_%28variable%29 command search path]. The PostScript output can then be further processed in an external program. Usually it is more convenient to work with the data as a PDF file. The process of converting PostScript to PDF can be done by many methods. For example, Acrobat Distiller or Acrobat Professional will convert PostScript files into PDF files. There are online converters, such as this one: http://www.ps2pdf.com/convert.htm . And on most linux computers you can convert PostScript into PDF files using the [http://pages.cs.wisc.edu/~ghost/doc/gnu/5.50/Ps2pdf.htm ps2pdf] command:<br />
ps2pdf [[Media:Bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
This will create the file [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]] (replacing the .ps extension with a .pdf extention automatically when saving the PDF file). If you click on the PDF file link in the previous sentence, you should see the musical notation for J.S. Bach's Well-Tempered Clavier, Book I, Prelude 1 in C major.<br />
<br />
An alternate method of using ps2pdf to generate a PDF file in a single step in conjunction with ''muse2ps'' would be with this command-line construction:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps | ps2pdf - > [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]]<br />
<br />
=== Last system justification ===<br />
<br />
By default ''muse2ps'' does not right-justify the last system of the music on the last page of the output (as can be seen in [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]]). If you<br />
want to justify the last system, use the <tt>=j</tt> option as an argument to ''muse2ps'':<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =j | ps2pdf - > [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]<br />
The ''muse2ps'' (or more precisely, the internal [[mskpage]] component) will possibly adjust line breaks on one or more of the previous systems in the score in order to fill enough music onto the last system, and then stretch or contract the music on the last system to fit the width between margins exactly. The <tt>=j</tt> option can potentially take significantly more time to process the input data than when it is omitted. The reason for the increased processing time can be seen by comparing [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]] and [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]. In order to right-justify the last system of the music, all systems in the music were recursively re-typeset so that the first system in the music contains only three measures instead of four.<br />
<br />
=== Grand-Staff vertical spacing ===<br />
<br />
The distance between staves in the grand staff (which is used for instruments such as the piano) can be controlled by the =g option. An integer number follows after the letter "g" in the option which specifies the distance between the two staves in terms of 1/10ths of the distance between staff lines. The default value for this option is =g100 which means that the distance between the top line of each staff is 10 staff lines.<br />
<br />
Here is an example of reducing the spacing between the staves to nothing. The =g50 option in this case means that the distance between the top of each staff is 5 staff lines. And since this is the height of a single staff, there will be no space between the two staves:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =g50 | ps2pdf - > [[Media:bach-wtc1p01-g50.pdf|bach-wtc1p01-g50.pdf]]<br />
<br />
<br />
=== Single-staff spacing in a system ===<br />
<br />
A ''system'' is a collection of staves which represent different instruments playing at the same time. The distance between these staves can be controlled with the =v option. Following =v is a list of comma-separated integers (with no intervening spaces). The unit for these numbers is the same as in the =g option: 1/10th of the distance between successive staff lines.<br />
<br />
The default spacing between staves will depend on whether they are supposed to be barred together or not. Here is the default spacing for four staves of a string quartet:<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
=== Using multiple options ===<br />
<br />
In the previous examples, the prelude is printed on two pages, with a single orphan system occurring on the second page. One way to force the music to fit onto a single page is to set the top margin from 120 pixels to 0 pixels with the option <tt>=t0</tt> and the printable length on the page to 3000 pixels (10 inches) with the option <tt>=l3000</tt>. When supplying multiple optional settings to muse2ps, there is only one option string which starts with the equals character (<tt>=</tt>) and is followed by all options with no spaces. Here is an example of using the <tt>=t0</tt>, <tt>=l3000</tt> and <tt>=j</tt> options at the same time, resulting in a single page of music:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =jt0l3000 | ps2pdf - > [[Media:bach-wtc1p01-jt0l3000.pdf|bach-wtc1p01-jt0l3000.pdf]]<br />
The order of the options in the option string is not important, so for example, "<tt>=l3000t0j</tt>" would yield the same results as "<tt>=jt0l3000</tt>".<br />
<br />
Instead of adjusting the vertical margins with the <tt>=t</tt> and <tt>=l</tt> options, you can also decrease the spacing between staves globally on the system. To do this, use the =v option followed by a list of distances between each staff on the system. In this example there are two staves in each system, so one value is expected after "=v". If there were three or more staves, then the vertical spacing values are separated by commas (and no spaces).<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =v160jt300 | ps2pdf - > [[Media:bach-wtc1p01-v160jt300.pdf|bach-wtc1p01-v160jt300.pdf]]<br />
<br />
In the above example, "<tt>=v160</tt>" means make the spacing between staves on the system slightly more than 1/2 an inch; "<tt>=j</tt>" means to right-justify the last system of music; and "<tt>t300</tt>" means add an extra inch to the top margin (the default setting is "<tt>=t120</tt>".<br />
<br />
=== Music size ===<br />
<br />
The ''muse2ps'' program can typeset music in several sizes: 6, 14, 16, 18 and 21. These numbers refer to the pixel count (at 300 DPI) between successive staff lines. For example, here is a zoom-in of music typeset using the size 6 font, where each staff line is one pixel wide, and there are 5 pixels in the gap between lines, making each staff line spaced every 6 pixels and hence the name "size 6":<br />
<br />
<center><br />
[[File:Dmuse-size6.png|411px]]<br />
</center><br />
<br />
<br />
The default size that ''muse2ps'' will typeset music in is size 14. To display the music at other sizes, use the <tt>=z</tt> option followed by the size. Here is the example prelude printed in all sizes (with right-justification of the last system using <tt>=j</tt> also added to the option string):<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z6j&nbsp;&nbsp;| ps2pdf - > [[Media:bach-wtc1p01-z6j.pdf|bach-wtc1p01-z6j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z14j | ps2pdf - > [[Media:bach-wtc1p01-z14j.pdf|bach-wtc1p01-z14j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z16j | ps2pdf - > [[Media:bach-wtc1p01-z16j.pdf|bach-wtc1p01-z16j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z18j | ps2pdf - > [[Media:bach-wtc1p01-z18j.pdf|bach-wtc1p01-z18j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z21j | ps2pdf - > [[Media:bach-wtc1p01-z21j.pdf|bach-wtc1p01-z21j.pdf]]<br />
<br />
Full-scores are typically printed at size 14 (particularly scores with many parts). Parts for performers are typically printed at sizes 18 or 21. Piano music is typically printed at size 16, and Size 18 has dither on two-pixel wide staff lines. The approximate equivalents to point sizes in regular text (multiplying by the factor 72/300 and then multiplying by 3):<br />
<br />
<center><br />
{| class="wikitable" cellpadding="0" cellspacing="0" border="0"<br />
|- |- {{Style|table header}}<br />
! scope="col" align="left" | MuseData music size<br />
! scope="col" align="left" | Staff height (mm)<br />
! score="col" align="left" | Approximate text font size<br />
! score="col" align="left" | Musical application<br />
|-<br />
| 6 || 2.03 mm || 4 pt || none<br />
|-<br />
| 14 || 4.74 mm || 10 pt || full scores<br />
|-<br />
| 16 || 5.42 mm || 11.5 pt || piano music, vocal scores<br />
|-<br />
| 18 || 6.10 mm || 13 pt || instrumental parts<br />
|-<br />
| 21 || 7.11 mm || 15 pt || large-size instrumental parts<br />
|}<br />
</center><br />
<br />
=== Extracting MPG intermediate data ===<br />
<br />
When a MuseData [[stage2]] file is converted into graphical music notation as PostScript output from ''muse2ps'', it will pass through two data transformation steps. The first step is a conversion from [[stage2]] data into non-page-specific [[i-files]] which is accomplished with the [[autoset]] component. Then these "non-page-specific" [[i-files]] are converted into "page-specific" [[page files|i-files]] (or Music Page (MPG) files) which describe the precise position of musical elements on each page of typeset music. This [[music page]] data can be extracted from the program surreptitiously by using the "=P" option. This will cause the [[MPG]] data to be embedded in comments within the PostScript output. Each page of MPG data will be stored in a sequence of comments starting with "<tt>%=BeginMPGData: 1</tt>", where <tt>1</tt> is the data for page one. And each page of MPG data is ended by the comment <tt>"%=EndMPGData: 1"</tt>.<br />
<br />
All MuseData/dmuse related comments in the PostScript output start with the comment marker "%=", so the MPG data can easily be separated from the PostScript content and other irrelevant comments in a manner such as this:<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =P | grep "^%=" > [[Media:Mpg-comments.txt|mpg-comments.txt]]<br />
The [[regular expression]] search string "<tt>^%=</tt>" used in the [http://en.wikipedia.org/wiki/Grep grep] command means extract lines from the input which start with the two characters "<tt>%=</tt>".<br />
<br />
A PERL utility program, called [[Media:unpackmpg.pl|unpackmpg]], for extracting the MPG data from the comments is included with the source code for ''muse2ps'':<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =Pg85jt200l3000 | [[Media:unpackmpg.pl|unpackmpg]] > [[Media:Mpg-comments.mpg|mpg-comments.mpg]]<br />
In the above command the options mean:<br />
* <tt>=P</tt>: Output [[music page]] data.<br />
* <tt>=g85</tt>: Set the distance between the staves in the grand staff to 8.5 staff lines (default is 100, or 10 staff lines).<br />
* <tt>=j</tt>: Right-justify the last system of the music.<br />
* <tt>=t200</tt>: Set the top margin to 2/3 of a inch below the base position.<br />
* <tt>=l3000</tt>: Set the vertical printable region to 10 inches.<br />
<br />
=== Inputting MPG data (adding a title) ===<br />
<br />
The extracted [[music page]] data from the previous section can be edited (such as to add a title) and then can be reprocessed by ''muse2ps'' to generate PostScript output:<br />
cat [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] | muse2ps =p | ps2pdf - > [[Media:Bach-wtc1p01-title.pdf|bach-wtc1p01-title.pdf]]<br />
<br />
In this case the file [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] is the equivalent to the MPG data generated by ''muse2ps'' in the previous section: [[Media:Mpg-comments.mpg|mpg-comments.mpg]], but with these three lines added to generate a title for the first page:<br />
<br />
<pre><br />
X 14<br />
X 46 1200C 0 Well-Tempered Clavier, Book I, Prelude 1 in C major<br />
X 37 1200C 50 BWV 846<br />
</pre><br />
<br />
The first line sets the font indexes relative to music size 14. The second line places the line at "1200C 0" which means center the line horizontally at location 1200 (4 inches from the left margin), and position the line vertically at position 0 (0 inches below the top margin).<br />
<br />
[[Music page]] data for many of the score on http://www.musedata.org are available as both [[stage2]] files and [[music page]] files. Using the [[music page]] files as input to ''muse2ps'' will generate better graphical notation results, since the automatically typeset data from the [[stage2]] files has been proofread and adjusted by a human.<br />
<br />
== Options ==<br />
<br />
Below is a list of the options which muse2ps understands. Options are given<br />
as the first (and only) argument to the program, starting with an equals sign (=), then followed by the options in any order, with no spaces between the options. For example, to set the music size to 18 and right-justify the last system on the last page, use the option string =z21j:<br />
cat file.md2 | muse2ps =z21j > file.ps<br />
When using characters which may be parsed by the command-line interpreter, you will have to enclose the option string in single quotes (you can do this all of the time if you are uncertain of the conditions in which they would be required):<br />
cat file.md2 | muse2ps '=z21js^{(..}}^T^title^' | ps2pdf - > file.pdf<br />
<br />
In option strings such as "=c<#>", replace <#> with an integer. <tt>[#]</tt> indicates an optional number.<br />
<br />
{|class="wikitable" cellpadding="0" cellspacing="0" border="0" style="width:100%"<br />
|- {{Style|table header}}<br />
! scope="col" width="100px" align="center"| muse2ps option index<br />
|-<br />
| <div style="column-count:3;-moz-column-count:3;-webkit-column-count:3"><br />
* {{nowrap|{{mopt|c}} compression}}<br />
* {{nowrap|{{mopt|C}} composer}}<br />
* {{nowrap|{{mopt|d}} diagnostics}}<br />
* {{nowrap|{{mopt|D}} dash spacing}}<br />
* {{nowrap|{{mopt|E}} eof insertion}}<br />
* {{nowrap|{{mopt|f}} fill by staff}}<br />
* {{nowrap|{{mopt|F}} fill by system}}<br />
* {{nowrap|{{mopt|g}} grand staff spacing}}<br />
* {{nowrap|{{mopt|G}} group selection}}<br />
* {{nowrap|{{mopt|h}} note space}}<br />
* {{nowrap|{{mopt|i}} indentation flag}}<br />
* {{nowrap|{{mopt|I}} indentation amount}}<br />
* {{nowrap|{{mopt|j}} justification}}<br />
* {{nowrap|{{mopt|k}} display options}}<br />
* {{nowrap|{{mopt|l}} page length}}<br />
* {{nowrap|{{mopt|m}} left margin}}<br />
* {{nowrap|{{mopt|M}} embed stage2 data}}<br />
* {{nowrap|{{mopt|n}} number of systems}}<br />
* {{nowrap|{{mopt|p}} page files input}}<br />
* {{nowrap|{{mopt|P}} embed page files}}<br />
* {{nowrap|{{mopt|Q}} minimum distance duration}}<br />
* {{nowrap|{{mopt|s}} system spine}}<br />
* {{nowrap|{{mopt|S}} title/system space}}<br />
* {{nowrap|{{mopt|t}} top margin}}<br />
* {{nowrap|{{mopt|T}} title}}<br />
* {{nowrap|{{mopt|u}} subtitle}}<br />
* {{nowrap|{{mopt|v}} staff spacing}}<br />
* {{nowrap|{{mopt|w}} system width}}<br />
* {{nowrap|{{mopt|W}} thin barlines}}<br />
* {{nowrap|{{mopt|x}} no suggestions}}<br />
* {{nowrap|{{mopt|X}} no last barline}}<br />
* {{nowrap|{{mopt|y}} no line controls}}<br />
* {{nowrap|{{mopt|Y}} no initial time signature}}<br />
* {{nowrap|{{mopt|z}} music size}}<br />
</div><br />
|}<br />
<br><br />
<br />
See also the Dmuse text file [[Media:muse2ps-options.dm | options.dm]], or the HTML equivalent [[Media:muse2ps-options.html| options.html]] for a brief description of each option.<br />
<br />
{| style="background-color:white" cellpadding="4"<br />
|- valign="top"<br />
| {{anchor|c_option}}<b>=c</b><#>|| Compression factor: This is measured as a percentage of the default. 100 = no compression (100%). Use smaller values to decrease the spacing between notes (allowing fewer pages in the score). Values larger than 100 will expand the distance between notes (increasing the number of pages in the score). This option is useful to force the last system of music to occur at the bottom of a page.<br />
<br />
|- valign="top"<br />
|{{anchor|C_option}}<b>=C</b>^string^ || Display the ''string'' as the composer's name at the top right side of the first page. See <b>=T</b> for the title, and <b>=u</b> for the sub-title. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|d_option}}<b>=d</b><#> || Diagnostics and Error Messages.<br />
bit 0 of #: ON = print error messages<br />
bit 1 of #: ON = print all diagnostics<br />
bit 2 of #: ON = print diagnostics from autoset<br />
bit 3 of #: ON = print diagnostics from mskpage<br />
bit 4 of #: ON = print diagnostics from pspage<br />
no number = 0x01: print error messages<br />
For example, =d31 turns on all error message toggles. This option is useful if the output PostScript data from muse2ps is empty. The messages go to standard error, while the PostScript data goes to standard output. Therefore, you can print the error messages and still save or pipe the PostScript data without the error messages mixing with the output data.<br />
<br />
|- valign="top"<br />
| {{anchor|D_option}}<b>=D</b> || Spacing between dashes. Will override spacing in stage2 files: 0 = use default, >0 = space between dashes (units are dash-length).<br />
<br />
|- valign="top"<br />
| {{anchor|E_option}}<b>=E</b> || <tt>/END</tt> = <tt>/eof</tt>. The muse2ps program allows for multiple parts to be entered from standard input in a single stream of data. Normally the data files representing each part are separated from each other by a line containing only "<tt>/eof</tt>" (lowercase; meaning "End of File"). Separate MuseData [[stage2]] files do not typically end in "<tt>/eof</tt>", but rather, they are required to contain the line "<tt>/END</tt>" (uppercase) to indicate the end of the data. After "<tt>/END</tt>", any textual comments are allowed. With the =E option, you do not need to separate files by "<tt>/eof</tt>", and instead, the next file in the sequence will start on the line coming after "<tt>/END</tt>". Note, however, that you cannot use the =E option if there is any commentary after "<tt>/END</tt>" in a file.<br />
<br />
|- valign="top"<br />
| {{anchor|f_option}}<b>=f</b> || Fill pages to the bottom by proportionally stretching all spacings. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|F_option}}<b>=F</b> || Fill pages to the bottom by adding to the intersystem space only. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|g_option}}<b>=g</b><#>|| Grand staff intra-space measured in multiples of ledger lines times 10. The default is 100, which is 10 ledger lines. Note that this distance reference is different from the =v values which define the distance from the top of one staff to the top of the next staff. For the =g, option, the distance is from the bottom of the top staff to the top of the bottom staff.<br />
<br />
|- valign="top"<br />
| {{anchor|G_option}}<b>=G</b>^group-name^ || Group name to process. The default is "score". Available groups are found on data line 11 at the top of each MuseData [[stage2]] file (excluding any single- or multi-line comments). Other possibilities might be "part" or "data".<br />
<br />
|- valign="top"<br />
| {{anchor|h_option}}<b>=h</b><#> || Alter the minimum allowed space between notes. This is measured as a percentage of the default. 100 = no change (100%).<br />
<br />
|- valign="top"<br />
|{{anchor|i_option}}<b>=i</b><#> || Initial system indentation options flag.<br />
* 0 = use program defaults (set indentation with <tt>=I</tt> option)<br />
* 1 = no indentation of first system of music<br />
* 2 = indent first system, and after every forced system break<br />
<br />
|- valign="top"<br />
| {{anchor|I_option}}<b>=I</b><#> || Specify the indentation amount for the first system in the music. If zero, then default indentation amount will be used. (see the <tt>=i</tt> option for turning off indentation).<br />
<br />
|- valign="top"<br />
|{{anchor|j_option}}<b>=j</b> || Right-justify the last system of the music so that it extends all of the way across the page. The default is NOT to right justify. Right-justification is a recursive process where measures from previous systems may be moved ahead in the score to cause all systems to have approximately the same note density.<br />
<br />
|- valign="top"<br />
| {{anchor|k_option}}<b>=k</b>^0x<tt>#</tt>^ || Display alternative options. Options are stored in a hexadecimal number prefixed with the string "<tt>0x</tt>" (C program-styled hex number). The default values are the 0 bit settings. The meaning of the bits in the hexadecimal number are (from least significant to most significant bit):<br />
<br />
<table cellpadding=0 cellspacing=0><br />
<tr valign=baseline><th>bit</th><td width=10></td><th>meaning</th></tr><br />
<br />
<tr valign=baseline><td>0</td><td></td><td><br />
<b>k-option activation flag</b><br />
* 1: <i>k</i> option is active; read options in more significant bits<br />
* 0: <i>k</i> option is inactive; used to turn off this option as a command-line override<br />
</td></tr><br />
<br />
<tr valign=baseline><td>1</td><td></td><td><br />
<b>Sforzando/rfz flag</b><br />
* 0: display sforzando as sf (rf)<br />
* 1: display sforzando as sfz (rfz)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>2</td><td></td><td><br />
<b>Sub-edit flag</b><br />
* 0: display editorial markup differently from regular data (such as adding brackets around editorial elements)<br />
* 1: do not display editorial data differently from regular data<br />
</td></tr><br />
<br />
<tr valign=baseline><td>3</td><td></td><td><br />
<b>No-editorial flag</b><br />
* 0: display editorial markup data<br />
* 1: do not display editorial markup data<br />
</td></tr><br />
<br />
<tr valign=baseline><td>4</td><td></td><td><br />
<b> Editorial markup in Roman font flag</b><br />
* 0: use cue-size music fonts for editorial marks<br />
* 1: use Times-Roan font for editorial marks: tr, dynamics<br />
</td></tr><br />
<br />
<tr valign=baseline><td>5</td><td></td><td><br />
<b>Ligature flag</b><br />
* 0: do not use ligatures in text<br />
* 1: use ligatures for "ffl", "ffi", "ff", "fl", and "fi"<br />
</td></tr><br />
<br />
<tr valign=baseline><td>6</td><td></td><td><br />
<b>Figured harmony flag</b><br />
* 0: place figured harmony (figured bass) below the staff<br />
* 1: place figured harmony (figured bass) above the staff<br />
</td></tr><br />
<br />
<tr valign=baseline><td>7</td><td></td><td><br />
<b> mheavy4 barline style flag</b><br />
* 0: mheavy4 barline represented by two heavy lines<br />
* 1: mheavy4 barline represented by one thin, one thick, and then another thin line<br />
</td></tr><br />
<br />
<tr valign=baseline><td>8</td><td></td><td><br />
<b>Multi-voice augmentation dot option</b><br />
* 0: allow overstrike of dots in different voices<br />
* 1: do not allow overstrike<br />
</td></tr><br />
<br />
<tr valign=baseline><td>9</td><td></td><td><br />
<b>New key signatures option</b><br />
* 0: don't print a new key signature if it is the same as the previous one on the staff<br />
* 1: print a new key signature even if it repeats the previous key signature on the staff<br />
</td></tr><br />
<br />
<tr valign=baseline><td>10</td><td></td><td><br />
<b>Mixed duration chords</b><br />
* 0: don't allow a mixture of white and black notes in chords<br />
* 1: allow mixture of white and black notes in chords<br />
</td></tr><br />
<br />
<tr valign=baseline><td>11</td><td></td><td><br />
<b>Suppress key signature flag </b><br />
* 0: display key signatures<br />
* 1: suppress printing of the key signature (such as for timpani parts)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>12</td><td></td><td><br />
<b>Editorial slurs flag</b><br />
* 0: all slurs are regular<br />
* 1: <tt>{ }</tt> and <tt>z x</tt> slurs are editorial slurs (dashed slurs)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>13</td><td></td><td><br />
<b>New clef sign flag </b><br />
* 0: large clefs at start of system, cue-size clefs for clef changes<br />
* 1: always use large clefs<br />
</td></tr><br />
<br />
</table><br />
<br />
|- valign="top"<br />
| {{anchor|l_option}}<b>=l</b><#>|| Length of a page. Distance is measured dots, at 300 dots to the inch. Default is 2740 dots. The default starting height is 120 dots. This will not be lowered, but may be raised to accommodate a longer page.<br />
<br />
|- valign="top"<br />
| {{anchor|m_option}}<b>=m</b><#> || Left margin, measured in at 300 dots/inch. The default is 200 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|M_option}}<b>=M</b> || Include the contents of the MuseData source files in the trailer section of the file embedded in PostScript comments (if MuseData [[stage2]] files are used as input.<br />
<br />
|- valign="top"<br />
| {{anchor|n_option}}<b>=n</b><#> || Maximum number of systems on a page. The default is no maximum.<br />
<br />
|- valign="top"<br />
| {{anchor|p_option}}<b>=p</b> || The source is a concatenated set of page specific i-files (also called .mpg files), not a set of MuseData files.<br />
<br />
|- valign="top"<br />
| {{anchor|P_option}}<b>=P</b> || Include listings of the page specific i-files, which are the source of the output PostScript data. Each page is separated.<br />
<br />
|- valign="top"<br />
| {{anchor|Q_option}}<b>=Q</b><#> || Duration which is assigned the minimum distance.<br />
1 = whole notes<br />
... . . .<br />
8 = eighth notes<br />
16 = sixteenth notes, etc.<br />
<br />
|- valign="top"<br />
| {{anchor|s_option}}<b>=s</b>^string^ || Custom left-hand spine. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=s^[(....)][(..)](.)[({..}..)]^<br />
Each dot in the system bracketing string represents one part, with the first dot in the string representing the top staff of the system. If a grand staff is used for any part, then use the colon character (:) for that part. Staves which should be bracketed together are enclosed in square brackets: <tt>[]</tt>. Staves which should be braced together are enclosed in curly braces: <tt>{}</tt>. Staves which should be barred together (barlines connecting between staves) are enclosed in parentheses: <tt>()</tt>. The caret character (^) is used to mark the start and top of the option string. Subsequent options occur immediately after the second caret character with no intervening space.<br />
<br />
|- valign="top"<br />
| {{anchor|S_option}}<b>=S</b><#> || Add extra space between the title and the first system of music: 0 = use default, >0 = lower the first system (units are 1/300th of an inch).<br />
<br />
|- valign="top"<br />
|{{anchor|t_option}}<b>=t</b><#> || Top of page. Default is 120 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|T_option}}<b>=T</b>^string^ || Display the ''string'' as a title at the top of the (first) page. See <b>=u</b> for sub-title, and <b>=C</b> for composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|u_option}}<b>=u</b>^string^ || Display the ''string'' as a sub-title at the top of the (first) page. See <b>=T</b> for the title, and <b>=C</b> for the composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|v_option}}<b>=v</b><#,#,#...#> || Custom spacings. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=v192,192,192,208,192,208,176,176,176,200<br />
The above example setting for the =v option can be used for a system with 8 parts (such as 4 woodwinds, 2 horns, and 4 string instruments). The first seven values describe the spacing between each staff in the system, and the last value is the spacing between systems on the page. The spacing between staves and systems is constant with muse2ps. The spacing values are 1/10th of the distance between two staff lines, and the spacing value is the distance from the top of one staff to the top of the next staff (or the top of the last staff on a system to the top of the staff on the next system for the last value in the list). See the <tt>=g</tt> option for spacing the staves of a grand staff (such as for piano music). When a grand staff is part of a system with more parts, then the distance between the grand staff and the next system is the distance between the top of the bottom staff of the grand-staff pair and the top of the next staff.<br />
<br />
|- valign="top"<br />
| {{anchor|w_option}}<b>=w</b><#> || System width, measured in at 300 dots/inch. The default is 2050 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|W_option}}<b>=W</b>[#] || Thin barline flag. 0 = use regular barlines. 1 = use thin barlines. No number after <tt>=W</tt> means the same as <tt>=W0</tt>.<br />
<br />
|- valign="top"<br />
| {{anchor|x_option}}<b>=x</b> || Defeat all part inclusion suggestions in the data<br />
<br />
|- valign="top"<br />
| {{anchor|X_option}}<b>=X</b>[#] || Leave off the last barline (for short examples). 0 = print last bar, 1 = don't print last bar, <tt>=X</tt> without a number is equivalent to <tt>=X1</tt>. Note: you can add extra staff-line space in the last bar by putting in <tt>irest</tt>s, but you must put <tt>irest</tt>s in all parts, and they must all represent the same note-type (duration). Note also: If the last barline is anything but a regular measure line, it will continue to print.<br />
<br />
|- valign="top"<br />
|{{anchor|y_option}}<b>=y</b> || Defeat all line control suggestions in the data.<br />
<br />
|- valign="top"<br />
|{{anchor|Y_option}}<b>=Y</b><#> || Suppress printing first time signature in score. Used for printing small examples which have a time signature in the data, but none desired in graphical notation. You can also use a time signature in the data of "<tt>T:9/0</tt>" to generate a <i>hidden</i> time signature, and not giving a time signature at the start of a file will result in not time signature being printed. 0 = print initial time signatures (used to override options embedded in data). 1 = suppress first time signature (<tt>=Y</tt> is equivalent to <tt>=Y1</tt>).<br />
<br />
|- valign="top"<br />
| {{anchor|z_option}}<b>=z</b><#> || Music size: choices are 6,14,16,18,21. 14 is the default. This value describes the distance between staff lines in units of 300 dots per inch.<br />
<br />
|}<br />
<br />
== Multi-file input specification ==<br />
<br />
Normally individual MuseData [[stage2]] files contain a single part. These part files are concatenated together and sent via standard input into the muse2ps program. In order for the muse2ps program to be able to segment the separate part files from the original stream the marker "<tt>/eof</tt>" is added after the last line in each file, and the marker "<tt>//</tt>" is ''required'' after the end of all datafile input into muse2ps. <br />
<br />
Typically the last line of a [[stage2]] MuseData file consists of the string "<tt>/END</tt>" (in uppercase), so add the line "<tt>/eof</tt>" (in lowercase) after it: <br />
/END<br />
/eof<br />
<br />
The very last three lines of input to muse2ps should look like this:<br />
<br />
/END<br />
/eof<br />
//<br />
<br />
If you specify the =E option when running muse2ps, the "<tt>/END</tt>" markers will be used to segment the separate part files internally.<br />
<br />
The PERL script [[Media:collatemd2.pl|collatemd2]] (included with the source code to muse2ps) can be used to concatenate multiple [[stage2]] part files into a single input stream for muse2ps. The output of the PERL script can be saved to a file for later processing with muse2ps. In this case the recommended file extension for the multi-file MuseData content is <b>.md2</b> . Here are example uses of [[Media:collatemd2.pl|collatemd2]]:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
You many have to type "<tt>./collatemd2</tt>" instead of "<tt>collatemd2</tt>" if the PERL program is in the current directory and the current directory is not in the command search path. If you download the program from this page, remove the .pl extension when saving (and use a lowercase first letter for the filename). You may have to set the permissions to allow it to be run as a program with the unix command: <tt>chmod 0755 collatemd2</tt>.<br />
<br />
Alternatively, you can save the output from [[Media:collatemd2.pl|collatemd2]] into a file for later use with muse2ps:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] > [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]]<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
When downloading MuseData [[stage2]] files from http://www.musedata.org , the parts are all combined into a single multi-file MuseData file which is the equivalent to the output from [[Media:collatemd2.pl|collatemd2]].<br />
<br />
=== Multiple Music Page files ===<br />
<br />
When concatenating multiple Music Page (MPG) files, separate each file's content with a line with the single capital letter "P" on it. Example of how to do this on the command line, creating a PDF file:<br />
<br />
<source lang="bash"><br />
for i in ??<br />
do<br />
cat $i<br />
echo P<br />
done | muse2ps =p | ps2pdf - - > output.pdf<br />
</source><br />
<br />
N.B.: Probably two slashes also need to be added at the end of the last page; otherwise, it will not print:<br />
<br />
//<br />
<br />
== Color highlighting ==<br />
<br />
A soon-to-be-released update of muse2ps will allow for coloring of notes in the score. This colorization can be used in conjunction with displaying search results, or highlighting notes in an example. <br />
<br />
If you place an "R" character in column 14 for note (or rest) records, That note will be highlighted red. A capital "R" will also highlight the stem of the note, while a lower case "r" will color only the notehead. If multiple colored notes all share a common beam, then that beam is also highlighted.<br />
<br />
The letter "B" can be used in column 14 to color notes blue, and the letter "G" can be used to color notes green. The lowercase versions "r" and "g" can be used to color only the noteheads and not the stems.<br />
<br />
== Embedded options ==<br />
<br />
The <i>muse2ps</i> program can read options sent in the input data stream. Options can be embedded in the input data as single-line comments. In [[stage2]] files, single-line comments start with an at-sign (<tt>@</tt>) in the first column of the line. Following the comment marker comes an option identification string "<tt>muse2psv1</tt>", with "<tt>v1</tt>" being the option version level (currently level 1, and can be used in the future to keep options backwards and forwards compatible. Default options, listed in the previous section describing the options, can be overridden by using the default option setting method which adds two equal signs in a row, followed by any options. Multiple default option <br />
comments may occur to prevent the length of the line from getting too long (it is a good idea to limit the length of the line for full backwards compatibility with dmuse and [[stage2]] files, although the current line limit in dmuse/muse2ps is 900 characters).<br />
<br />
Option for specific music sizes can be set by placing the size option between the two equals signs in the option comment. Here is an example option comment header:<br />
<br />
@muse2psv1==z18<br />
@muse2psv1==T^Bach Chorale^u^bwv-277^C^J.S. Bach (1685-1750)^<br />
@muse2psv1=z14=v200,155,155,155j<br />
@muse2psv1=z18=v240,195,195,195j<br />
@muse2psv1=z21=v300,230,230,230j<br />
<br />
The first two lines are default option settings for all music sizes. The first line sets the default music size to 18 if no size is given on the command line to muse2ps. The second line sets the title, subtitle, and composer fields on the title page. The last three lines set the vertical spacing between staves at various music sizes; the first for size 14, then size 18, and the last line for size 21.<br />
<br />
== ps2pdf options ==<br />
<br />
The default behavior of the ps2pdf program is to assume that the input data is formatted for A4 paper. The default output size for muse2ps is US letter. In order for ps2pdf to generate output pages with the correct dimensions, add the option <tt>-sPAPERSIZE=letter</tt> as an argument to the program:<br />
ps2pdf -sPAPERSIZE=letter<br />
<br />
Another pair of useful options (not needed for output from muse2ps, but useful when adding footers at later states in data program) embed the fonts used in the file:<br />
ps2pdf -sPAPERSIZE=letter -dCompatibilityLevel=1.4 -dPDFSETTINGS=/prepress<br />
<br />
For example the Symbol font is not present on the Apple iPad PDF viewer. When using the options in this example, the Symbol font (or the portion used) would be embedded in the file and therefore viewable on an iPad.<br />
<br />
== Creating images ==<br />
<br />
Graphical images can be created in various ways. A good method is to convert PostScript output from muse2ps to a bitmap image with the unix command-line program pstopnm. For smaller examples and converting to other images formtas, Imagemagick's convert is another command-line which is useful. Both pstopnm and convert are often pre-installed on linux computers, and both are available for free on the internet. They should also work with OS X, and can be used in MS Windows using [http://www.cygwin.com cygwin].<br />
<br />
To create an image pipe the output from muse2ps into pstopnm, and convert to a bitmapped image at 300 dots per inch. Next pipe the resulting image to convert for further processing. In the following example, the image is first trimmed from a full page to just the area which contains the printed music, then the image is resized to 33% of the original size for use on the web, and saved into a PNG file.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -resize '33%' [[Media:scale.png|scale.png]]<br />
<br />
=== Transparent background ===<br />
<br />
Use the options <tt>-negate -alpha copy -negate</tt> to make the background of the image transparent so that it can be displayed on any background color. Here is the example image which was just created with the above command:<br />
<br />
[[Image:scale.png]]<br />
<br />
Notice that the background color of the image is white, which becomes noticeable when placing the image on a non-white background color. Now create an image with a transparent background:<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -negate -alpha copy -negate \<br />
-resize '33%' [[Media:scale-transparent.png|scale.png]]<br />
<center><br />
<table cellspacing=0 cellpadding=3><tr bgcolor=#ffffff><td bgcolor=#4499aa><br />
[[Image:scale-transparent.png]]<br />
</td><td width=10><br />
<td bgcolor=#ffaa44>[[Image:scale-transparent.png]]<br />
</td></tr></table></center><br />
<br />
<br />
=== Images for printed publications ===<br />
<br />
To insert musical examples in a Microsoft or similar word processing program, do not resize the image, but leave it at the 300 dots per inch size of the original. Then you can rescale the image in the word processor as necessary. This will optimize the quality of the image in the final printout from the word processor.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim [[Media:scale-large.png|scale.png]]<br />
<br />
== Humdrum interface ==<br />
<br />
The muse2ps program can be used in conjunction with the [http://extra.humdrum.org/man/hum2muse hum2muse] program. Here is an example of how to create graphical music notation using the following Humdrum data as an example:<br />
<br />
<table cellspacing=0><tr bgcolor=white valign=top><td><htmlet>beethoven-kern</htmlet></td><br />
<td width=10></td><br />
<td> <br />
<pre><br />
hum2muse file.krn | muse2ps \<br />
| ps2pdf - - > file.png<br />
</pre><br />
[[Image:beethoven-kern.png]] <br />
<br><br />
<br><br />
<br><br />
</td><br />
</tr><br />
</table><br />
<br />
Images can be generated from Humdrum data online by pasting/typing data into the [http://kern.humdrum.org/cgi-bin/kern/kseditor Humdrum online editor]. For example, copy and paste the above Humdrum data into the left black box on the Humdrum online editor page, and the click on the red "Generate" button to produce an image of the graphical music using the default settings.<br />
<br />
Here is the intermediate MuseData which is passed between [http://extra.humdrum.org/man/hum2muse hum2muse] and muse2ps: [[Media:beethoven-kern.md2 | beethoven.md2]]. Try copying / pasting<br />
this data into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in the same music notation as seen above.<br />
<br />
== Zbex programs ==<br />
<br />
In the muse2ps source code directory, the sub-directory <tt>zprogs</tt> contains the [[zbex]] programs used to generate the file zfun32.c. Most necessary files needed to create [http://www.ccarh.org/software/muse2ps/muse2ps/zfun32.c zfun32.c] are in that directory, but perhaps not all of them. These programs are not used directly by muse2ps, but are compiled into zbex executable code within zfun32.c. The muse2ps is essentially a non-interactive version of [[dmuse]] (see http://dmuse.ccarh.org). The [[dmuse]] program is a text editor which also has a built-in [[zbex]] language interpreter and graphical music display capabilities. The interpreter portion of [[dmuse]] has been extracted for non-interactive use in muse2ps.<br />
<br />
== Examples == <br />
<br />
Further examples of MuseData [[stage2]] files converted into graphical music notation with muse2ps can be found on the [[MuseData examples]] page.<br />
<br />
== Feature requests and bug reports ==<br />
<br />
See the page: [[Muse2ps feature requests and bug reports]].</div>Edchttps://wiki.ccarh.org/index.php?title=Muse2ps&diff=10510Muse2ps2021-03-30T17:46:50Z<p>Edc: /* Multi-file input specification */</p>
<hr />
<div>__TOC__<br />
<br />
== Overview == <br />
<br />
The <b>muse2ps</b> program is a command-line version of the [[autoset]], [[mskpage]] and [[pspage]] programs which are usually run within the [[dmuse]] editor using the built-in [[zbex language]] interpreter. The ''muse2ps'' program reads MuseData [[stage2]] data or [[page file]] data from standard input and converts them into PostScript data representing graphical musical notation which is sent to standard output. The following diagram illustrates the flow of data through ''muse2ps'':<br />
<br />
<br />
<center><br />
[[File:muse2ps-dataflow.svg]]<br />
</center><br />
<br />
The ''muse2ps'' program can accept two forms of input. By default, the ''muse2ps'' program will read multi-file [[stage2]] data from standard input. MuseData [[stage2]] files contain primarily symbolic musical data with possibly a little bit of formatting information (such as system and page breaks). The ''muse2ps'' program will format this symbolic music internally into [[page files]] which give explicit information about the placement of notes, slurs, beams, dynamics, lyrics, ''etc.'' on each page of music.<br />
<br />
Alternatively, if the <tt>=p</tt> option is given as an [[argument]] to ''muse2ps'', the program can read multi-file [[page files]] directly from standard input. Typically, [[stage2]] files are converted automatically into [[pages files]] and then further processing is done on these [[page files]] in order to produce a final typeset score of the graphical music notation. For example, the [[vskpage]] is used to refine the vertical spacing of staves and systems on a page of music within [[page files]], and [[eskpage]] is used to interactively edit the position of graphical elements within [[page files]].<br />
<br />
The only output from ''muse2ps'' (besides error messages) is PostScript data which describes the graphical music notation in a printable score of the music. This data can be further processed, such as sending directly to a PostScript printer, or converting into PDF files for web distrubution of the notated music. The representation of music notation within the PostScript file is in the form of bit-mapped musical fonts. The musical fonts are designed for use with 300 DPI resolution printers when printed at the native resolution (originally these fonts were designed for [http://en.wikipedia.org/wiki/Printer_Command_Language PCL-based printers]). These fonts have the unique feature of [http://en.wikipedia.org/wiki/Dither dithered] edges on sloped beams to minimize the visual effect of pixel stepping at 300 DPI resolution. Minor notation editing can be done on the PostScript/PDF files in programs such as Adobe Illustrator. If you print via PDF files, you may want to uncheck the page-scaling option in the printing program in order to avoid aliasing artifacts in the hard copy due to changing the intended size of the music on the page. <br />
<br />
Two other forms of data can be embedded within the PostScript output. If the <tt>=M</tt> option is given as an [[argument]] to the ''muse2ps'' program, then the original [[stage2]] data will be stored within comments in the PostScript data. Likewise, if the <tt>=P</tt> option is given, the [[page file]] data will be included in the PostScript output as comments. The [[page file]] data will either come from automatic generation using [[autoset]]/[[mskpage]], or from standard input if you use the <tt>=p</tt> option.<br />
<br />
There are also numerous options which primarily deal with the formatting of [[stage2]] files with the [[autoset]] and [[mskpage]] program components. See the [[#Options| options]] section below for a complete list of the options.<br />
<br />
== Download ==<br />
<br />
The ''muse2ps'' program executables for various operating systems or the source code can be downloaded from the following table. <b>Instructions for setting up the program for use can be found ''[[Muse2ps_installation_instructions| here]]''.</b><br />
<br />
<br />
<center><br />
{{muse2psdownloadtable}}<br />
</center><br />
<br />
== Online ==<br />
<br />
The ''muse2ps'' program can be run online at http://www.musedata.org/mdconverter . If you click on [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icons next to data found on the http://www.musedata.org website, the musical data will be loaded into this online converter from which PostScript, PDF, or PNG images of the music can be generated. <br />
<br />
For example, click on the [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icon on the information page for this [http://www.musedata.org/encodings/bach/bg/chorals/0428/ Bach chorale], then click on the {{keypress|Submit}} button on the converter page to generate a PDF file of the chorale with the default settings. Then try setting some options, such as using "<tt>[(.)(.)(.)(.)]</tt>" for the <b>System spine</b> option to prevent barlines from being drawn between staves in the score.<br />
<br />
You can create your own MuseData content and print with the online converter as well. Copy and paste the following MuseData content: [[Media:beethoven-kern.md2 | beethoven.md2]] into into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in this graphical music notation:<br />
<center><br />
[[Image:beethoven-kern.png]]<br />
</center><br />
<br />
== Command-line examples ==<br />
<br />
The simplest use of ''muse2ps'' is to send it MuseData [[stage2]] files as standard input, and save standard output from the program into a PostScript file:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps > [[Media:bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
<br />
You may need to use "<tt>./muse2ps</tt>" instead of "<tt>muse2ps</tt>" in the above command if the ''muse2ps'' program file is in the current directory, but the current directory is not in your [http://en.wikipedia.org/wiki/PATH_%28variable%29 command search path]. The PostScript output can then be further processed in an external program. Usually it is more convenient to work with the data as a PDF file. The process of converting PostScript to PDF can be done by many methods. For example, Acrobat Distiller or Acrobat Professional will convert PostScript files into PDF files. There are online converters, such as this one: http://www.ps2pdf.com/convert.htm . And on most linux computers you can convert PostScript into PDF files using the [http://pages.cs.wisc.edu/~ghost/doc/gnu/5.50/Ps2pdf.htm ps2pdf] command:<br />
ps2pdf [[Media:Bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
This will create the file [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]] (replacing the .ps extension with a .pdf extention automatically when saving the PDF file). If you click on the PDF file link in the previous sentence, you should see the musical notation for J.S. Bach's Well-Tempered Clavier, Book I, Prelude 1 in C major.<br />
<br />
An alternate method of using ps2pdf to generate a PDF file in a single step in conjunction with ''muse2ps'' would be with this command-line construction:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps | ps2pdf - > [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]]<br />
<br />
=== Last system justification ===<br />
<br />
By default ''muse2ps'' does not right-justify the last system of the music on the last page of the output (as can be seen in [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]]). If you<br />
want to justify the last system, use the <tt>=j</tt> option as an argument to ''muse2ps'':<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =j | ps2pdf - > [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]<br />
The ''muse2ps'' (or more precisely, the internal [[mskpage]] component) will possibly adjust line breaks on one or more of the previous systems in the score in order to fill enough music onto the last system, and then stretch or contract the music on the last system to fit the width between margins exactly. The <tt>=j</tt> option can potentially take significantly more time to process the input data than when it is omitted. The reason for the increased processing time can be seen by comparing [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]] and [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]. In order to right-justify the last system of the music, all systems in the music were recursively re-typeset so that the first system in the music contains only three measures instead of four.<br />
<br />
=== Grand-Staff vertical spacing ===<br />
<br />
The distance between staves in the grand staff (which is used for instruments such as the piano) can be controlled by the =g option. An integer number follows after the letter "g" in the option which specifies the distance between the two staves in terms of 1/10ths of the distance between staff lines. The default value for this option is =g100 which means that the distance between the top line of each staff is 10 staff lines.<br />
<br />
Here is an example of reducing the spacing between the staves to nothing. The =g50 option in this case means that the distance between the top of each staff is 5 staff lines. And since this is the height of a single staff, there will be no space between the two staves:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =g50 | ps2pdf - > [[Media:bach-wtc1p01-g50.pdf|bach-wtc1p01-g50.pdf]]<br />
<br />
<br />
=== Single-staff spacing in a system ===<br />
<br />
A ''system'' is a collection of staves which represent different instruments playing at the same time. The distance between these staves can be controlled with the =v option. Following =v is a list of comma-separated integers (with no intervening spaces). The unit for these numbers is the same as in the =g option: 1/10th of the distance between successive staff lines.<br />
<br />
The default spacing between staves will depend on whether they are supposed to be barred together or not. Here is the default spacing for four staves of a string quartet:<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
=== Using multiple options ===<br />
<br />
In the previous examples, the prelude is printed on two pages, with a single orphan system occurring on the second page. One way to force the music to fit onto a single page is to set the top margin from 120 pixels to 0 pixels with the option <tt>=t0</tt> and the printable length on the page to 3000 pixels (10 inches) with the option <tt>=l3000</tt>. When supplying multiple optional settings to muse2ps, there is only one option string which starts with the equals character (<tt>=</tt>) and is followed by all options with no spaces. Here is an example of using the <tt>=t0</tt>, <tt>=l3000</tt> and <tt>=j</tt> options at the same time, resulting in a single page of music:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =jt0l3000 | ps2pdf - > [[Media:bach-wtc1p01-jt0l3000.pdf|bach-wtc1p01-jt0l3000.pdf]]<br />
The order of the options in the option string is not important, so for example, "<tt>=l3000t0j</tt>" would yield the same results as "<tt>=jt0l3000</tt>".<br />
<br />
Instead of adjusting the vertical margins with the <tt>=t</tt> and <tt>=l</tt> options, you can also decrease the spacing between staves globally on the system. To do this, use the =v option followed by a list of distances between each staff on the system. In this example there are two staves in each system, so one value is expected after "=v". If there were three or more staves, then the vertical spacing values are separated by commas (and no spaces).<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =v160jt300 | ps2pdf - > [[Media:bach-wtc1p01-v160jt300.pdf|bach-wtc1p01-v160jt300.pdf]]<br />
<br />
In the above example, "<tt>=v160</tt>" means make the spacing between staves on the system slightly more than 1/2 an inch; "<tt>=j</tt>" means to right-justify the last system of music; and "<tt>t300</tt>" means add an extra inch to the top margin (the default setting is "<tt>=t120</tt>".<br />
<br />
=== Music size ===<br />
<br />
The ''muse2ps'' program can typeset music in several sizes: 6, 14, 16, 18 and 21. These numbers refer to the pixel count (at 300 DPI) between successive staff lines. For example, here is a zoom-in of music typeset using the size 6 font, where each staff line is one pixel wide, and there are 5 pixels in the gap between lines, making each staff line spaced every 6 pixels and hence the name "size 6":<br />
<br />
<center><br />
[[File:Dmuse-size6.png|411px]]<br />
</center><br />
<br />
<br />
The default size that ''muse2ps'' will typeset music in is size 14. To display the music at other sizes, use the <tt>=z</tt> option followed by the size. Here is the example prelude printed in all sizes (with right-justification of the last system using <tt>=j</tt> also added to the option string):<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z6j&nbsp;&nbsp;| ps2pdf - > [[Media:bach-wtc1p01-z6j.pdf|bach-wtc1p01-z6j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z14j | ps2pdf - > [[Media:bach-wtc1p01-z14j.pdf|bach-wtc1p01-z14j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z16j | ps2pdf - > [[Media:bach-wtc1p01-z16j.pdf|bach-wtc1p01-z16j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z18j | ps2pdf - > [[Media:bach-wtc1p01-z18j.pdf|bach-wtc1p01-z18j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z21j | ps2pdf - > [[Media:bach-wtc1p01-z21j.pdf|bach-wtc1p01-z21j.pdf]]<br />
<br />
Full-scores are typically printed at size 14 (particularly scores with many parts). Parts for performers are typically printed at sizes 18 or 21. Piano music is typically printed at size 16, and Size 18 has dither on two-pixel wide staff lines. The approximate equivalents to point sizes in regular text (multiplying by the factor 72/300 and then multiplying by 3):<br />
<br />
<center><br />
{| class="wikitable" cellpadding="0" cellspacing="0" border="0"<br />
|- |- {{Style|table header}}<br />
! scope="col" align="left" | MuseData music size<br />
! scope="col" align="left" | Staff height (mm)<br />
! score="col" align="left" | Approximate text font size<br />
! score="col" align="left" | Musical application<br />
|-<br />
| 6 || 2.03 mm || 4 pt || none<br />
|-<br />
| 14 || 4.74 mm || 10 pt || full scores<br />
|-<br />
| 16 || 5.42 mm || 11.5 pt || piano music, vocal scores<br />
|-<br />
| 18 || 6.10 mm || 13 pt || instrumental parts<br />
|-<br />
| 21 || 7.11 mm || 15 pt || large-size instrumental parts<br />
|}<br />
</center><br />
<br />
=== Extracting MPG intermediate data ===<br />
<br />
When a MuseData [[stage2]] file is converted into graphical music notation as PostScript output from ''muse2ps'', it will pass through two data transformation steps. The first step is a conversion from [[stage2]] data into non-page-specific [[i-files]] which is accomplished with the [[autoset]] component. Then these "non-page-specific" [[i-files]] are converted into "page-specific" [[page files|i-files]] (or Music Page (MPG) files) which describe the precise position of musical elements on each page of typeset music. This [[music page]] data can be extracted from the program surreptitiously by using the "=P" option. This will cause the [[MPG]] data to be embedded in comments within the PostScript output. Each page of MPG data will be stored in a sequence of comments starting with "<tt>%=BeginMPGData: 1</tt>", where <tt>1</tt> is the data for page one. And each page of MPG data is ended by the comment <tt>"%=EndMPGData: 1"</tt>.<br />
<br />
All MuseData/dmuse related comments in the PostScript output start with the comment marker "%=", so the MPG data can easily be separated from the PostScript content and other irrelevant comments in a manner such as this:<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =P | grep "^%=" > [[Media:Mpg-comments.txt|mpg-comments.txt]]<br />
The [[regular expression]] search string "<tt>^%=</tt>" used in the [http://en.wikipedia.org/wiki/Grep grep] command means extract lines from the input which start with the two characters "<tt>%=</tt>".<br />
<br />
A PERL utility program, called [[Media:unpackmpg.pl|unpackmpg]], for extracting the MPG data from the comments is included with the source code for ''muse2ps'':<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =Pg85jt200l3000 | [[Media:unpackmpg.pl|unpackmpg]] > [[Media:Mpg-comments.mpg|mpg-comments.mpg]]<br />
In the above command the options mean:<br />
* <tt>=P</tt>: Output [[music page]] data.<br />
* <tt>=g85</tt>: Set the distance between the staves in the grand staff to 8.5 staff lines (default is 100, or 10 staff lines).<br />
* <tt>=j</tt>: Right-justify the last system of the music.<br />
* <tt>=t200</tt>: Set the top margin to 2/3 of a inch below the base position.<br />
* <tt>=l3000</tt>: Set the vertical printable region to 10 inches.<br />
<br />
=== Inputting MPG data (adding a title) ===<br />
<br />
The extracted [[music page]] data from the previous section can be edited (such as to add a title) and then can be reprocessed by ''muse2ps'' to generate PostScript output:<br />
cat [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] | muse2ps =p | ps2pdf - > [[Media:Bach-wtc1p01-title.pdf|bach-wtc1p01-title.pdf]]<br />
<br />
In this case the file [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] is the equivalent to the MPG data generated by ''muse2ps'' in the previous section: [[Media:Mpg-comments.mpg|mpg-comments.mpg]], but with these three lines added to generate a title for the first page:<br />
<br />
<pre><br />
X 14<br />
X 46 1200C 0 Well-Tempered Clavier, Book I, Prelude 1 in C major<br />
X 37 1200C 50 BWV 846<br />
</pre><br />
<br />
The first line sets the font indexes relative to music size 14. The second line places the line at "1200C 0" which means center the line horizontally at location 1200 (4 inches from the left margin), and position the line vertically at position 0 (0 inches below the top margin).<br />
<br />
[[Music page]] data for many of the score on http://www.musedata.org are available as both [[stage2]] files and [[music page]] files. Using the [[music page]] files as input to ''muse2ps'' will generate better graphical notation results, since the automatically typeset data from the [[stage2]] files has been proofread and adjusted by a human.<br />
<br />
== Options ==<br />
<br />
Below is a list of the options which muse2ps understands. Options are given<br />
as the first (and only) argument to the program, starting with an equals sign (=), then followed by the options in any order, with no spaces between the options. For example, to set the music size to 18 and right-justify the last system on the last page, use the option string =z21j:<br />
cat file.md2 | muse2ps =z21j > file.ps<br />
When using characters which may be parsed by the command-line interpreter, you will have to enclose the option string in single quotes (you can do this all of the time if you are uncertain of the conditions in which they would be required):<br />
cat file.md2 | muse2ps '=z21js^{(..}}^T^title^' | ps2pdf - > file.pdf<br />
<br />
In option strings such as "=c<#>", replace <#> with an integer. <tt>[#]</tt> indicates an optional number.<br />
<br />
{|class="wikitable" cellpadding="0" cellspacing="0" border="0" style="width:100%"<br />
|- {{Style|table header}}<br />
! scope="col" width="100px" align="center"| muse2ps option index<br />
|-<br />
| <div style="column-count:3;-moz-column-count:3;-webkit-column-count:3"><br />
* {{nowrap|{{mopt|c}} compression}}<br />
* {{nowrap|{{mopt|C}} composer}}<br />
* {{nowrap|{{mopt|d}} diagnostics}}<br />
* {{nowrap|{{mopt|D}} dash spacing}}<br />
* {{nowrap|{{mopt|E}} eof insertion}}<br />
* {{nowrap|{{mopt|f}} fill by staff}}<br />
* {{nowrap|{{mopt|F}} fill by system}}<br />
* {{nowrap|{{mopt|g}} grand staff spacing}}<br />
* {{nowrap|{{mopt|G}} group selection}}<br />
* {{nowrap|{{mopt|h}} note space}}<br />
* {{nowrap|{{mopt|i}} indentation flag}}<br />
* {{nowrap|{{mopt|I}} indentation amount}}<br />
* {{nowrap|{{mopt|j}} justification}}<br />
* {{nowrap|{{mopt|k}} display options}}<br />
* {{nowrap|{{mopt|l}} page length}}<br />
* {{nowrap|{{mopt|m}} left margin}}<br />
* {{nowrap|{{mopt|M}} embed stage2 data}}<br />
* {{nowrap|{{mopt|n}} number of systems}}<br />
* {{nowrap|{{mopt|p}} page files input}}<br />
* {{nowrap|{{mopt|P}} embed page files}}<br />
* {{nowrap|{{mopt|Q}} minimum distance duration}}<br />
* {{nowrap|{{mopt|s}} system spine}}<br />
* {{nowrap|{{mopt|S}} title/system space}}<br />
* {{nowrap|{{mopt|t}} top margin}}<br />
* {{nowrap|{{mopt|T}} title}}<br />
* {{nowrap|{{mopt|u}} subtitle}}<br />
* {{nowrap|{{mopt|v}} staff spacing}}<br />
* {{nowrap|{{mopt|w}} system width}}<br />
* {{nowrap|{{mopt|W}} thin barlines}}<br />
* {{nowrap|{{mopt|x}} no suggestions}}<br />
* {{nowrap|{{mopt|X}} no last barline}}<br />
* {{nowrap|{{mopt|y}} no line controls}}<br />
* {{nowrap|{{mopt|Y}} no initial time signature}}<br />
* {{nowrap|{{mopt|z}} music size}}<br />
</div><br />
|}<br />
<br><br />
<br />
See also the Dmuse text file [[Media:muse2ps-options.dm | options.dm]], or the HTML equivalent [[Media:muse2ps-options.html| options.html]] for a brief description of each option.<br />
<br />
{| style="background-color:white" cellpadding="4"<br />
|- valign="top"<br />
| {{anchor|c_option}}<b>=c</b><#>|| Compression factor: This is measured as a percentage of the default. 100 = no compression (100%). Use smaller values to decrease the spacing between notes (allowing fewer pages in the score). Values larger than 100 will expand the distance between notes (increasing the number of pages in the score). This option is useful to force the last system of music to occur at the bottom of a page.<br />
<br />
|- valign="top"<br />
|{{anchor|C_option}}<b>=C</b>^string^ || Display the ''string'' as the composer's name at the top right side of the first page. See <b>=T</b> for the title, and <b>=u</b> for the sub-title. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|d_option}}<b>=d</b><#> || Diagnostics and Error Messages.<br />
bit 0 of #: ON = print error messages<br />
bit 1 of #: ON = print all diagnostics<br />
bit 2 of #: ON = print diagnostics from autoset<br />
bit 3 of #: ON = print diagnostics from mskpage<br />
bit 4 of #: ON = print diagnostics from pspage<br />
no number = 0x01: print error messages<br />
For example, =d31 turns on all error message toggles. This option is useful if the output PostScript data from muse2ps is empty. The messages go to standard error, while the PostScript data goes to standard output. Therefore, you can print the error messages and still save or pipe the PostScript data without the error messages mixing with the output data.<br />
<br />
|- valign="top"<br />
| {{anchor|D_option}}<b>=D</b> || Spacing between dashes. Will override spacing in stage2 files: 0 = use default, >0 = space between dashes (units are dash-length).<br />
<br />
|- valign="top"<br />
| {{anchor|E_option}}<b>=E</b> || <tt>/END</tt> = <tt>/eof</tt>. The muse2ps program allows for multiple parts to be entered from standard input in a single stream of data. Normally the data files representing each part are separated from each other by a line containing only "<tt>/eof</tt>" (lowercase; meaning "End of File"). Separate MuseData [[stage2]] files do not typically end in "<tt>/eof</tt>", but rather, they are required to contain the line "<tt>/END</tt>" (uppercase) to indicate the end of the data. After "<tt>/END</tt>", any textual comments are allowed. With the =E option, you do not need to separate files by "<tt>/eof</tt>", and instead, the next file in the sequence will start on the line coming after "<tt>/END</tt>". Note, however, that you cannot use the =E option if there is any commentary after "<tt>/END</tt>" in a file.<br />
<br />
|- valign="top"<br />
| {{anchor|f_option}}<b>=f</b> || Fill pages to the bottom by proportionally stretching all spacings. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|F_option}}<b>=F</b> || Fill pages to the bottom by adding to the intersystem space only. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|g_option}}<b>=g</b><#>|| Grand staff intra-space measured in multiples of ledger lines times 10. The default is 100, which is 10 ledger lines. Note that this distance reference is different from the =v values which define the distance from the top of one staff to the top of the next staff. For the =g, option, the distance is from the bottom of the top staff to the top of the bottom staff.<br />
<br />
|- valign="top"<br />
| {{anchor|G_option}}<b>=G</b>^group-name^ || Group name to process. The default is "score". Available groups are found on data line 11 at the top of each MuseData [[stage2]] file (excluding any single- or multi-line comments). Other possibilities might be "part" or "data".<br />
<br />
|- valign="top"<br />
| {{anchor|h_option}}<b>=h</b><#> || Alter the minimum allowed space between notes. This is measured as a percentage of the default. 100 = no change (100%).<br />
<br />
|- valign="top"<br />
|{{anchor|i_option}}<b>=i</b><#> || Initial system indentation options flag.<br />
* 0 = use program defaults (set indentation with <tt>=I</tt> option)<br />
* 1 = no indentation of first system of music<br />
* 2 = indent first system, and after every forced system break<br />
<br />
|- valign="top"<br />
| {{anchor|I_option}}<b>=I</b><#> || Specify the indentation amount for the first system in the music. If zero, then default indentation amount will be used. (see the <tt>=i</tt> option for turning off indentation).<br />
<br />
|- valign="top"<br />
|{{anchor|j_option}}<b>=j</b> || Right-justify the last system of the music so that it extends all of the way across the page. The default is NOT to right justify. Right-justification is a recursive process where measures from previous systems may be moved ahead in the score to cause all systems to have approximately the same note density.<br />
<br />
|- valign="top"<br />
| {{anchor|k_option}}<b>=k</b>^0x<tt>#</tt>^ || Display alternative options. Options are stored in a hexadecimal number prefixed with the string "<tt>0x</tt>" (C program-styled hex number). The default values are the 0 bit settings. The meaning of the bits in the hexadecimal number are (from least significant to most significant bit):<br />
<br />
<table cellpadding=0 cellspacing=0><br />
<tr valign=baseline><th>bit</th><td width=10></td><th>meaning</th></tr><br />
<br />
<tr valign=baseline><td>0</td><td></td><td><br />
<b>k-option activation flag</b><br />
* 1: <i>k</i> option is active; read options in more significant bits<br />
* 0: <i>k</i> option is inactive; used to turn off this option as a command-line override<br />
</td></tr><br />
<br />
<tr valign=baseline><td>1</td><td></td><td><br />
<b>Sforzando/rfz flag</b><br />
* 0: display sforzando as sf (rf)<br />
* 1: display sforzando as sfz (rfz)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>2</td><td></td><td><br />
<b>Sub-edit flag</b><br />
* 0: display editorial markup differently from regular data (such as adding brackets around editorial elements)<br />
* 1: do not display editorial data differently from regular data<br />
</td></tr><br />
<br />
<tr valign=baseline><td>3</td><td></td><td><br />
<b>No-editorial flag</b><br />
* 0: display editorial markup data<br />
* 1: do not display editorial markup data<br />
</td></tr><br />
<br />
<tr valign=baseline><td>4</td><td></td><td><br />
<b> Editorial markup in Roman font flag</b><br />
* 0: use cue-size music fonts for editorial marks<br />
* 1: use Times-Roan font for editorial marks: tr, dynamics<br />
</td></tr><br />
<br />
<tr valign=baseline><td>5</td><td></td><td><br />
<b>Ligature flag</b><br />
* 0: do not use ligatures in text<br />
* 1: use ligatures for "ffl", "ffi", "ff", "fl", and "fi"<br />
</td></tr><br />
<br />
<tr valign=baseline><td>6</td><td></td><td><br />
<b>Figured harmony flag</b><br />
* 0: place figured harmony (figured bass) below the staff<br />
* 1: place figured harmony (figured bass) above the staff<br />
</td></tr><br />
<br />
<tr valign=baseline><td>7</td><td></td><td><br />
<b> mheavy4 barline style flag</b><br />
* 0: mheavy4 barline represented by two heavy lines<br />
* 1: mheavy4 barline represented by one thin, one thick, and then another thin line<br />
</td></tr><br />
<br />
<tr valign=baseline><td>8</td><td></td><td><br />
<b>Multi-voice augmentation dot option</b><br />
* 0: allow overstrike of dots in different voices<br />
* 1: do not allow overstrike<br />
</td></tr><br />
<br />
<tr valign=baseline><td>9</td><td></td><td><br />
<b>New key signatures option</b><br />
* 0: don't print a new key signature if it is the same as the previous one on the staff<br />
* 1: print a new key signature even if it repeats the previous key signature on the staff<br />
</td></tr><br />
<br />
<tr valign=baseline><td>10</td><td></td><td><br />
<b>Mixed duration chords</b><br />
* 0: don't allow a mixture of white and black notes in chords<br />
* 1: allow mixture of white and black notes in chords<br />
</td></tr><br />
<br />
<tr valign=baseline><td>11</td><td></td><td><br />
<b>Suppress key signature flag </b><br />
* 0: display key signatures<br />
* 1: suppress printing of the key signature (such as for timpani parts)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>12</td><td></td><td><br />
<b>Editorial slurs flag</b><br />
* 0: all slurs are regular<br />
* 1: <tt>{ }</tt> and <tt>z x</tt> slurs are editorial slurs (dashed slurs)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>13</td><td></td><td><br />
<b>New clef sign flag </b><br />
* 0: large clefs at start of system, cue-size clefs for clef changes<br />
* 1: always use large clefs<br />
</td></tr><br />
<br />
</table><br />
<br />
|- valign="top"<br />
| {{anchor|l_option}}<b>=l</b><#>|| Length of a page. Distance is measured dots, at 300 dots to the inch. Default is 2740 dots. The default starting height is 120 dots. This will not be lowered, but may be raised to accommodate a longer page.<br />
<br />
|- valign="top"<br />
| {{anchor|m_option}}<b>=m</b><#> || Left margin, measured in at 300 dots/inch. The default is 200 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|M_option}}<b>=M</b> || Include the contents of the MuseData source files in the trailer section of the file embedded in PostScript comments (if MuseData [[stage2]] files are used as input.<br />
<br />
|- valign="top"<br />
| {{anchor|n_option}}<b>=n</b><#> || Maximum number of systems on a page. The default is no maximum.<br />
<br />
|- valign="top"<br />
| {{anchor|p_option}}<b>=p</b> || The source is a concatenated set of page specific i-files (also called .mpg files), not a set of MuseData files.<br />
<br />
|- valign="top"<br />
| {{anchor|P_option}}<b>=P</b> || Include listings of the page specific i-files, which are the source of the output PostScript data. Each page is separated.<br />
<br />
|- valign="top"<br />
| {{anchor|Q_option}}<b>=Q</b><#> || Duration which is assigned the minimum distance.<br />
1 = whole notes<br />
... . . .<br />
8 = eighth notes<br />
16 = sixteenth notes, etc.<br />
<br />
|- valign="top"<br />
| {{anchor|s_option}}<b>=s</b>^string^ || Custom left-hand spine. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=s^[(....)][(..)](.)[({..}..)]^<br />
Each dot in the system bracketing string represents one part, with the first dot in the string representing the top staff of the system. If a grand staff is used for any part, then use the colon character (:) for that part. Staves which should be bracketed together are enclosed in square brackets: <tt>[]</tt>. Staves which should be braced together are enclosed in curly braces: <tt>{}</tt>. Staves which should be barred together (barlines connecting between staves) are enclosed in parentheses: <tt>()</tt>. The caret character (^) is used to mark the start and top of the option string. Subsequent options occur immediately after the second caret character with no intervening space.<br />
<br />
|- valign="top"<br />
| {{anchor|S_option}}<b>=S</b><#> || Add extra space between the title and the first system of music: 0 = use default, >0 = lower the first system (units are 1/300th of an inch).<br />
<br />
|- valign="top"<br />
|{{anchor|t_option}}<b>=t</b><#> || Top of page. Default is 120 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|T_option}}<b>=T</b>^string^ || Display the ''string'' as a title at the top of the (first) page. See <b>=u</b> for sub-title, and <b>=C</b> for composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|u_option}}<b>=u</b>^string^ || Display the ''string'' as a sub-title at the top of the (first) page. See <b>=T</b> for the title, and <b>=C</b> for the composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|v_option}}<b>=v</b><#,#,#...#> || Custom spacings. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=v192,192,192,208,192,208,176,176,176,200<br />
The above example setting for the =v option can be used for a system with 8 parts (such as 4 woodwinds, 2 horns, and 4 string instruments). The first seven values describe the spacing between each staff in the system, and the last value is the spacing between systems on the page. The spacing between staves and systems is constant with muse2ps. The spacing values are 1/10th of the distance between two staff lines, and the spacing value is the distance from the top of one staff to the top of the next staff (or the top of the last staff on a system to the top of the staff on the next system for the last value in the list). See the <tt>=g</tt> option for spacing the staves of a grand staff (such as for piano music). When a grand staff is part of a system with more parts, then the distance between the grand staff and the next system is the distance between the top of the bottom staff of the grand-staff pair and the top of the next staff.<br />
<br />
|- valign="top"<br />
| {{anchor|w_option}}<b>=w</b><#> || System width, measured in at 300 dots/inch. The default is 2050 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|W_option}}<b>=W</b>[#] || Thin barline flag. 0 = use regular barlines. 1 = use thin barlines. No number after <tt>=W</tt> means the same as <tt>=W0</tt>.<br />
<br />
|- valign="top"<br />
| {{anchor|x_option}}<b>=x</b> || Defeat all part inclusion suggestions in the data<br />
<br />
|- valign="top"<br />
| {{anchor|X_option}}<b>=X</b>[#] || Leave off the last barline (for short examples). 0 = print last bar, 1 = don't print last bar, <tt>=X</tt> without a number is equivalent to <tt>=X1</tt>. Note: you can add extra staff-line space in the last bar by putting in <tt>irest</tt>s, but you must put <tt>irest</tt>s in all parts, and they must all represent the same note-type (duration). Note also: If the last barline is anything but a regular measure line, it will continue to print.<br />
<br />
|- valign="top"<br />
|{{anchor|y_option}}<b>=y</b> || Defeat all line control suggestions in the data.<br />
<br />
|- valign="top"<br />
|{{anchor|Y_option}}<b>=Y</b><#> || Suppress printing first time signature in score. Used for printing small examples which have a time signature in the data, but none desired in graphical notation. You can also use a time signature in the data of "<tt>T:9/0</tt>" to generate a <i>hidden</i> time signature, and not giving a time signature at the start of a file will result in not time signature being printed. 0 = print initial time signatures (used to override options embedded in data). 1 = suppress first time signature (<tt>=Y</tt> is equivalent to <tt>=Y1</tt>).<br />
<br />
|- valign="top"<br />
| {{anchor|z_option}}<b>=z</b><#> || Music size: choices are 6,14,16,18,21. 14 is the default. This value describes the distance between staff lines in units of 300 dots per inch.<br />
<br />
|}<br />
<br />
== Multi-file input specification ==<br />
<br />
Normally individual MuseData [[stage2]] files contain a single part. These part files are concatenated together and sent via standard input into the muse2ps program. In order for the muse2ps program to be able to segment the separate part files from the original stream the marker "<tt>/eof</tt>" is added after the last line in each file, and the marker "<tt>//</tt>" is ''required'' after the end of all datafile input into muse2ps. <br />
<br />
Typically the last line of a [[stage2]] MuseData file consists of the string "<tt>/END</tt>" (in uppercase), so add the line "<tt>/eof</tt>" (in lowercase) after it: <br />
/END<br />
/eof<br />
<br />
The very last three lines of input to muse2ps should look like this:<br />
<br />
/END<br />
/eof<br />
//<br />
<br />
If you specify the =E option when running muse2ps, the "<tt>/END</tt>" markers will be used to segment the separate part files internally.<br />
<br />
The PERL script [[Media:collatemd2.pl|collatemd2]] (included with the source code to muse2ps) can be used to concatenate multiple [[stage2]] part files into a single input stream for muse2ps. The output of the PERL script can be saved to a file for later processing with muse2ps. In this case the recommended file extension for the multi-file MuseData content is <b>.md2</b> . Here are example uses of [[Media:collatemd2.pl|collatemd2]]:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
You many have to type "<tt>./collatemd2</tt>" instead of "<tt>collatemd2</tt>" if the PERL program is in the current directory and the current directory is not in the command search path. If you download the program from this page, remove the .pl extension when saving (and use a lowercase first letter for the filename). You may have to set the permissions to allow it to be run as a program with the unix command: <tt>chmod 0755 collatemd2</tt>.<br />
<br />
Alternatively, you can save the output from [[Media:collatemd2.pl|collatemd2]] into a file for later use with muse2ps:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] > [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]]<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
When downloading MuseData [[stage2]] files from http://www.musedata.org , the parts are all combined into a single multi-file MuseData file which is the equivalent to the output from [[Media:collatemd2.pl|collatemd2]].<br />
<br />
=== Multiple Music Page files ===<br />
<br />
When concatenating multiple Music Page (MPG) files, separate each file's content with a line with the single capital letter "P" on it. Example of how to do this on the command line, creating a PDF file:<br />
<br />
<source lang="bash"><br />
for i in ??<br />
do<br />
cat $i<br />
echo P<br />
done | muse2ps =p | ps2pdf - - > output.pdf<br />
</source><br />
<br />
N.B.: Probably two slashes also need to be added at the end of the last page; otherwise, it will not print:<br />
<br />
//<br />
<br />
== Color highlighting ==<br />
<br />
A soon-to-be released update of muse2ps will allow for coloring of notes in the score. This colorization can be used in conjunction with displaying search results, or highlighting notes in an example. <br />
<br />
If you place an "R" character in column 14 for note (or rest) records, That note will be highlighted red. A capital "R" will also highlight the stem of the note, while a lower case "r" will color only the notehead. If multiple colored notes all share a common beam, then that beam is also highlighted.<br />
<br />
The letter "B" can be used in column 14 to color notes blue, and the letter "G" can be used to color notes green. The lowercase versions "r" and "g" can be used to color only the noteheads and not the stems.<br />
<br />
== Embedded options ==<br />
<br />
The <i>muse2ps</i> program can read options sent in the input data stream. Options can be embedded in the input data as single-line comments. In [[stage2]] files, single-line comments start with an at-sign (<tt>@</tt>) in the first column of the line. Following the comment marker comes an option identification string "<tt>muse2psv1</tt>", with "<tt>v1</tt>" being the option version level (currently level 1, and can be used in the future to keep options backwards and forwards compatible. Default options, listed in the previous section describing the options, can be overridden by using the default option setting method which adds two equal signs in a row, followed by any options. Multiple default option <br />
comments may occur to prevent the length of the line from getting too long (it is a good idea to limit the length of the line for full backwards compatibility with dmuse and [[stage2]] files, although the current line limit in dmuse/muse2ps is 900 characters).<br />
<br />
Option for specific music sizes can be set by placing the size option between the two equals signs in the option comment. Here is an example option comment header:<br />
<br />
@muse2psv1==z18<br />
@muse2psv1==T^Bach Chorale^u^bwv-277^C^J.S. Bach (1685-1750)^<br />
@muse2psv1=z14=v200,155,155,155j<br />
@muse2psv1=z18=v240,195,195,195j<br />
@muse2psv1=z21=v300,230,230,230j<br />
<br />
The first two lines are default option settings for all music sizes. The first line sets the default music size to 18 if no size is given on the command line to muse2ps. The second line sets the title, subtitle, and composer fields on the title page. The last three lines set the vertical spacing between staves at various music sizes; the first for size 14, then size 18, and the last line for size 21.<br />
<br />
== ps2pdf options ==<br />
<br />
The default behavior of the ps2pdf program is to assume that the input data is formatted for A4 paper. The default output size for muse2ps is US letter. In order for ps2pdf to generate output pages with the correct dimensions, add the option <tt>-sPAPERSIZE=letter</tt> as an argument to the program:<br />
ps2pdf -sPAPERSIZE=letter<br />
<br />
Another pair of useful options (not needed for output from muse2ps, but useful when adding footers at later states in data program) embed the fonts used in the file:<br />
ps2pdf -sPAPERSIZE=letter -dCompatibilityLevel=1.4 -dPDFSETTINGS=/prepress<br />
<br />
For example the Symbol font is not present on the Apple iPad PDF viewer. When using the options in this example, the Symbol font (or the portion used) would be embedded in the file and therefore viewable on an iPad.<br />
<br />
== Creating images ==<br />
<br />
Graphical images can be created in various ways. A good method is to convert PostScript output from muse2ps to a bitmap image with the unix command-line program pstopnm. For smaller examples and converting to other images formtas, Imagemagick's convert is another command-line which is useful. Both pstopnm and convert are often pre-installed on linux computers, and both are available for free on the internet. They should also work with OS X, and can be used in MS Windows using [http://www.cygwin.com cygwin].<br />
<br />
To create an image pipe the output from muse2ps into pstopnm, and convert to a bitmapped image at 300 dots per inch. Next pipe the resulting image to convert for further processing. In the following example, the image is first trimmed from a full page to just the area which contains the printed music, then the image is resized to 33% of the original size for use on the web, and saved into a PNG file.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -resize '33%' [[Media:scale.png|scale.png]]<br />
<br />
=== Transparent background ===<br />
<br />
Use the options <tt>-negate -alpha copy -negate</tt> to make the background of the image transparent so that it can be displayed on any background color. Here is the example image which was just created with the above command:<br />
<br />
[[Image:scale.png]]<br />
<br />
Notice that the background color of the image is white, which becomes noticeable when placing the image on a non-white background color. Now create an image with a transparent background:<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -negate -alpha copy -negate \<br />
-resize '33%' [[Media:scale-transparent.png|scale.png]]<br />
<center><br />
<table cellspacing=0 cellpadding=3><tr bgcolor=#ffffff><td bgcolor=#4499aa><br />
[[Image:scale-transparent.png]]<br />
</td><td width=10><br />
<td bgcolor=#ffaa44>[[Image:scale-transparent.png]]<br />
</td></tr></table></center><br />
<br />
<br />
=== Images for printed publications ===<br />
<br />
To insert musical examples in a Microsoft or similar word processing program, do not resize the image, but leave it at the 300 dots per inch size of the original. Then you can rescale the image in the word processor as necessary. This will optimize the quality of the image in the final printout from the word processor.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim [[Media:scale-large.png|scale.png]]<br />
<br />
== Humdrum interface ==<br />
<br />
The muse2ps program can be used in conjunction with the [http://extra.humdrum.org/man/hum2muse hum2muse] program. Here is an example of how to create graphical music notation using the following Humdrum data as an example:<br />
<br />
<table cellspacing=0><tr bgcolor=white valign=top><td><htmlet>beethoven-kern</htmlet></td><br />
<td width=10></td><br />
<td> <br />
<pre><br />
hum2muse file.krn | muse2ps \<br />
| ps2pdf - - > file.png<br />
</pre><br />
[[Image:beethoven-kern.png]] <br />
<br><br />
<br><br />
<br><br />
</td><br />
</tr><br />
</table><br />
<br />
Images can be generated from Humdrum data online by pasting/typing data into the [http://kern.humdrum.org/cgi-bin/kern/kseditor Humdrum online editor]. For example, copy and paste the above Humdrum data into the left black box on the Humdrum online editor page, and the click on the red "Generate" button to produce an image of the graphical music using the default settings.<br />
<br />
Here is the intermediate MuseData which is passed between [http://extra.humdrum.org/man/hum2muse hum2muse] and muse2ps: [[Media:beethoven-kern.md2 | beethoven.md2]]. Try copying / pasting<br />
this data into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in the same music notation as seen above.<br />
<br />
== Zbex programs ==<br />
<br />
In the muse2ps source code directory, the sub-directory <tt>zprogs</tt> contains the [[zbex]] programs used to generate the file zfun32.c. Most necessary files needed to create [http://www.ccarh.org/software/muse2ps/muse2ps/zfun32.c zfun32.c] are in that directory, but perhaps not all of them. These programs are not used directly by muse2ps, but are compiled into zbex executable code within zfun32.c. The muse2ps is essentially a non-interactive version of [[dmuse]] (see http://dmuse.ccarh.org). The [[dmuse]] program is a text editor which also has a built-in [[zbex]] language interpreter and graphical music display capabilities. The interpreter portion of [[dmuse]] has been extracted for non-interactive use in muse2ps.<br />
<br />
== Examples == <br />
<br />
Further examples of MuseData [[stage2]] files converted into graphical music notation with muse2ps can be found on the [[MuseData examples]] page.<br />
<br />
== Feature requests and bug reports ==<br />
<br />
See the page: [[Muse2ps feature requests and bug reports]].</div>Edchttps://wiki.ccarh.org/index.php?title=Muse2ps&diff=10509Muse2ps2021-03-30T17:45:38Z<p>Edc: /* Multi-file input specification */</p>
<hr />
<div>__TOC__<br />
<br />
== Overview == <br />
<br />
The <b>muse2ps</b> program is a command-line version of the [[autoset]], [[mskpage]] and [[pspage]] programs which are usually run within the [[dmuse]] editor using the built-in [[zbex language]] interpreter. The ''muse2ps'' program reads MuseData [[stage2]] data or [[page file]] data from standard input and converts them into PostScript data representing graphical musical notation which is sent to standard output. The following diagram illustrates the flow of data through ''muse2ps'':<br />
<br />
<br />
<center><br />
[[File:muse2ps-dataflow.svg]]<br />
</center><br />
<br />
The ''muse2ps'' program can accept two forms of input. By default, the ''muse2ps'' program will read multi-file [[stage2]] data from standard input. MuseData [[stage2]] files contain primarily symbolic musical data with possibly a little bit of formatting information (such as system and page breaks). The ''muse2ps'' program will format this symbolic music internally into [[page files]] which give explicit information about the placement of notes, slurs, beams, dynamics, lyrics, ''etc.'' on each page of music.<br />
<br />
Alternatively, if the <tt>=p</tt> option is given as an [[argument]] to ''muse2ps'', the program can read multi-file [[page files]] directly from standard input. Typically, [[stage2]] files are converted automatically into [[pages files]] and then further processing is done on these [[page files]] in order to produce a final typeset score of the graphical music notation. For example, the [[vskpage]] is used to refine the vertical spacing of staves and systems on a page of music within [[page files]], and [[eskpage]] is used to interactively edit the position of graphical elements within [[page files]].<br />
<br />
The only output from ''muse2ps'' (besides error messages) is PostScript data which describes the graphical music notation in a printable score of the music. This data can be further processed, such as sending directly to a PostScript printer, or converting into PDF files for web distrubution of the notated music. The representation of music notation within the PostScript file is in the form of bit-mapped musical fonts. The musical fonts are designed for use with 300 DPI resolution printers when printed at the native resolution (originally these fonts were designed for [http://en.wikipedia.org/wiki/Printer_Command_Language PCL-based printers]). These fonts have the unique feature of [http://en.wikipedia.org/wiki/Dither dithered] edges on sloped beams to minimize the visual effect of pixel stepping at 300 DPI resolution. Minor notation editing can be done on the PostScript/PDF files in programs such as Adobe Illustrator. If you print via PDF files, you may want to uncheck the page-scaling option in the printing program in order to avoid aliasing artifacts in the hard copy due to changing the intended size of the music on the page. <br />
<br />
Two other forms of data can be embedded within the PostScript output. If the <tt>=M</tt> option is given as an [[argument]] to the ''muse2ps'' program, then the original [[stage2]] data will be stored within comments in the PostScript data. Likewise, if the <tt>=P</tt> option is given, the [[page file]] data will be included in the PostScript output as comments. The [[page file]] data will either come from automatic generation using [[autoset]]/[[mskpage]], or from standard input if you use the <tt>=p</tt> option.<br />
<br />
There are also numerous options which primarily deal with the formatting of [[stage2]] files with the [[autoset]] and [[mskpage]] program components. See the [[#Options| options]] section below for a complete list of the options.<br />
<br />
== Download ==<br />
<br />
The ''muse2ps'' program executables for various operating systems or the source code can be downloaded from the following table. <b>Instructions for setting up the program for use can be found ''[[Muse2ps_installation_instructions| here]]''.</b><br />
<br />
<br />
<center><br />
{{muse2psdownloadtable}}<br />
</center><br />
<br />
== Online ==<br />
<br />
The ''muse2ps'' program can be run online at http://www.musedata.org/mdconverter . If you click on [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icons next to data found on the http://www.musedata.org website, the musical data will be loaded into this online converter from which PostScript, PDF, or PNG images of the music can be generated. <br />
<br />
For example, click on the [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icon on the information page for this [http://www.musedata.org/encodings/bach/bg/chorals/0428/ Bach chorale], then click on the {{keypress|Submit}} button on the converter page to generate a PDF file of the chorale with the default settings. Then try setting some options, such as using "<tt>[(.)(.)(.)(.)]</tt>" for the <b>System spine</b> option to prevent barlines from being drawn between staves in the score.<br />
<br />
You can create your own MuseData content and print with the online converter as well. Copy and paste the following MuseData content: [[Media:beethoven-kern.md2 | beethoven.md2]] into into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in this graphical music notation:<br />
<center><br />
[[Image:beethoven-kern.png]]<br />
</center><br />
<br />
== Command-line examples ==<br />
<br />
The simplest use of ''muse2ps'' is to send it MuseData [[stage2]] files as standard input, and save standard output from the program into a PostScript file:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps > [[Media:bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
<br />
You may need to use "<tt>./muse2ps</tt>" instead of "<tt>muse2ps</tt>" in the above command if the ''muse2ps'' program file is in the current directory, but the current directory is not in your [http://en.wikipedia.org/wiki/PATH_%28variable%29 command search path]. The PostScript output can then be further processed in an external program. Usually it is more convenient to work with the data as a PDF file. The process of converting PostScript to PDF can be done by many methods. For example, Acrobat Distiller or Acrobat Professional will convert PostScript files into PDF files. There are online converters, such as this one: http://www.ps2pdf.com/convert.htm . And on most linux computers you can convert PostScript into PDF files using the [http://pages.cs.wisc.edu/~ghost/doc/gnu/5.50/Ps2pdf.htm ps2pdf] command:<br />
ps2pdf [[Media:Bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
This will create the file [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]] (replacing the .ps extension with a .pdf extention automatically when saving the PDF file). If you click on the PDF file link in the previous sentence, you should see the musical notation for J.S. Bach's Well-Tempered Clavier, Book I, Prelude 1 in C major.<br />
<br />
An alternate method of using ps2pdf to generate a PDF file in a single step in conjunction with ''muse2ps'' would be with this command-line construction:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps | ps2pdf - > [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]]<br />
<br />
=== Last system justification ===<br />
<br />
By default ''muse2ps'' does not right-justify the last system of the music on the last page of the output (as can be seen in [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]]). If you<br />
want to justify the last system, use the <tt>=j</tt> option as an argument to ''muse2ps'':<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =j | ps2pdf - > [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]<br />
The ''muse2ps'' (or more precisely, the internal [[mskpage]] component) will possibly adjust line breaks on one or more of the previous systems in the score in order to fill enough music onto the last system, and then stretch or contract the music on the last system to fit the width between margins exactly. The <tt>=j</tt> option can potentially take significantly more time to process the input data than when it is omitted. The reason for the increased processing time can be seen by comparing [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]] and [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]. In order to right-justify the last system of the music, all systems in the music were recursively re-typeset so that the first system in the music contains only three measures instead of four.<br />
<br />
=== Grand-Staff vertical spacing ===<br />
<br />
The distance between staves in the grand staff (which is used for instruments such as the piano) can be controlled by the =g option. An integer number follows after the letter "g" in the option which specifies the distance between the two staves in terms of 1/10ths of the distance between staff lines. The default value for this option is =g100 which means that the distance between the top line of each staff is 10 staff lines.<br />
<br />
Here is an example of reducing the spacing between the staves to nothing. The =g50 option in this case means that the distance between the top of each staff is 5 staff lines. And since this is the height of a single staff, there will be no space between the two staves:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =g50 | ps2pdf - > [[Media:bach-wtc1p01-g50.pdf|bach-wtc1p01-g50.pdf]]<br />
<br />
<br />
=== Single-staff spacing in a system ===<br />
<br />
A ''system'' is a collection of staves which represent different instruments playing at the same time. The distance between these staves can be controlled with the =v option. Following =v is a list of comma-separated integers (with no intervening spaces). The unit for these numbers is the same as in the =g option: 1/10th of the distance between successive staff lines.<br />
<br />
The default spacing between staves will depend on whether they are supposed to be barred together or not. Here is the default spacing for four staves of a string quartet:<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
=== Using multiple options ===<br />
<br />
In the previous examples, the prelude is printed on two pages, with a single orphan system occurring on the second page. One way to force the music to fit onto a single page is to set the top margin from 120 pixels to 0 pixels with the option <tt>=t0</tt> and the printable length on the page to 3000 pixels (10 inches) with the option <tt>=l3000</tt>. When supplying multiple optional settings to muse2ps, there is only one option string which starts with the equals character (<tt>=</tt>) and is followed by all options with no spaces. Here is an example of using the <tt>=t0</tt>, <tt>=l3000</tt> and <tt>=j</tt> options at the same time, resulting in a single page of music:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =jt0l3000 | ps2pdf - > [[Media:bach-wtc1p01-jt0l3000.pdf|bach-wtc1p01-jt0l3000.pdf]]<br />
The order of the options in the option string is not important, so for example, "<tt>=l3000t0j</tt>" would yield the same results as "<tt>=jt0l3000</tt>".<br />
<br />
Instead of adjusting the vertical margins with the <tt>=t</tt> and <tt>=l</tt> options, you can also decrease the spacing between staves globally on the system. To do this, use the =v option followed by a list of distances between each staff on the system. In this example there are two staves in each system, so one value is expected after "=v". If there were three or more staves, then the vertical spacing values are separated by commas (and no spaces).<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =v160jt300 | ps2pdf - > [[Media:bach-wtc1p01-v160jt300.pdf|bach-wtc1p01-v160jt300.pdf]]<br />
<br />
In the above example, "<tt>=v160</tt>" means make the spacing between staves on the system slightly more than 1/2 an inch; "<tt>=j</tt>" means to right-justify the last system of music; and "<tt>t300</tt>" means add an extra inch to the top margin (the default setting is "<tt>=t120</tt>".<br />
<br />
=== Music size ===<br />
<br />
The ''muse2ps'' program can typeset music in several sizes: 6, 14, 16, 18 and 21. These numbers refer to the pixel count (at 300 DPI) between successive staff lines. For example, here is a zoom-in of music typeset using the size 6 font, where each staff line is one pixel wide, and there are 5 pixels in the gap between lines, making each staff line spaced every 6 pixels and hence the name "size 6":<br />
<br />
<center><br />
[[File:Dmuse-size6.png|411px]]<br />
</center><br />
<br />
<br />
The default size that ''muse2ps'' will typeset music in is size 14. To display the music at other sizes, use the <tt>=z</tt> option followed by the size. Here is the example prelude printed in all sizes (with right-justification of the last system using <tt>=j</tt> also added to the option string):<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z6j&nbsp;&nbsp;| ps2pdf - > [[Media:bach-wtc1p01-z6j.pdf|bach-wtc1p01-z6j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z14j | ps2pdf - > [[Media:bach-wtc1p01-z14j.pdf|bach-wtc1p01-z14j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z16j | ps2pdf - > [[Media:bach-wtc1p01-z16j.pdf|bach-wtc1p01-z16j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z18j | ps2pdf - > [[Media:bach-wtc1p01-z18j.pdf|bach-wtc1p01-z18j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z21j | ps2pdf - > [[Media:bach-wtc1p01-z21j.pdf|bach-wtc1p01-z21j.pdf]]<br />
<br />
Full-scores are typically printed at size 14 (particularly scores with many parts). Parts for performers are typically printed at sizes 18 or 21. Piano music is typically printed at size 16, and Size 18 has dither on two-pixel wide staff lines. The approximate equivalents to point sizes in regular text (multiplying by the factor 72/300 and then multiplying by 3):<br />
<br />
<center><br />
{| class="wikitable" cellpadding="0" cellspacing="0" border="0"<br />
|- |- {{Style|table header}}<br />
! scope="col" align="left" | MuseData music size<br />
! scope="col" align="left" | Staff height (mm)<br />
! score="col" align="left" | Approximate text font size<br />
! score="col" align="left" | Musical application<br />
|-<br />
| 6 || 2.03 mm || 4 pt || none<br />
|-<br />
| 14 || 4.74 mm || 10 pt || full scores<br />
|-<br />
| 16 || 5.42 mm || 11.5 pt || piano music, vocal scores<br />
|-<br />
| 18 || 6.10 mm || 13 pt || instrumental parts<br />
|-<br />
| 21 || 7.11 mm || 15 pt || large-size instrumental parts<br />
|}<br />
</center><br />
<br />
=== Extracting MPG intermediate data ===<br />
<br />
When a MuseData [[stage2]] file is converted into graphical music notation as PostScript output from ''muse2ps'', it will pass through two data transformation steps. The first step is a conversion from [[stage2]] data into non-page-specific [[i-files]] which is accomplished with the [[autoset]] component. Then these "non-page-specific" [[i-files]] are converted into "page-specific" [[page files|i-files]] (or Music Page (MPG) files) which describe the precise position of musical elements on each page of typeset music. This [[music page]] data can be extracted from the program surreptitiously by using the "=P" option. This will cause the [[MPG]] data to be embedded in comments within the PostScript output. Each page of MPG data will be stored in a sequence of comments starting with "<tt>%=BeginMPGData: 1</tt>", where <tt>1</tt> is the data for page one. And each page of MPG data is ended by the comment <tt>"%=EndMPGData: 1"</tt>.<br />
<br />
All MuseData/dmuse related comments in the PostScript output start with the comment marker "%=", so the MPG data can easily be separated from the PostScript content and other irrelevant comments in a manner such as this:<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =P | grep "^%=" > [[Media:Mpg-comments.txt|mpg-comments.txt]]<br />
The [[regular expression]] search string "<tt>^%=</tt>" used in the [http://en.wikipedia.org/wiki/Grep grep] command means extract lines from the input which start with the two characters "<tt>%=</tt>".<br />
<br />
A PERL utility program, called [[Media:unpackmpg.pl|unpackmpg]], for extracting the MPG data from the comments is included with the source code for ''muse2ps'':<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =Pg85jt200l3000 | [[Media:unpackmpg.pl|unpackmpg]] > [[Media:Mpg-comments.mpg|mpg-comments.mpg]]<br />
In the above command the options mean:<br />
* <tt>=P</tt>: Output [[music page]] data.<br />
* <tt>=g85</tt>: Set the distance between the staves in the grand staff to 8.5 staff lines (default is 100, or 10 staff lines).<br />
* <tt>=j</tt>: Right-justify the last system of the music.<br />
* <tt>=t200</tt>: Set the top margin to 2/3 of a inch below the base position.<br />
* <tt>=l3000</tt>: Set the vertical printable region to 10 inches.<br />
<br />
=== Inputting MPG data (adding a title) ===<br />
<br />
The extracted [[music page]] data from the previous section can be edited (such as to add a title) and then can be reprocessed by ''muse2ps'' to generate PostScript output:<br />
cat [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] | muse2ps =p | ps2pdf - > [[Media:Bach-wtc1p01-title.pdf|bach-wtc1p01-title.pdf]]<br />
<br />
In this case the file [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] is the equivalent to the MPG data generated by ''muse2ps'' in the previous section: [[Media:Mpg-comments.mpg|mpg-comments.mpg]], but with these three lines added to generate a title for the first page:<br />
<br />
<pre><br />
X 14<br />
X 46 1200C 0 Well-Tempered Clavier, Book I, Prelude 1 in C major<br />
X 37 1200C 50 BWV 846<br />
</pre><br />
<br />
The first line sets the font indexes relative to music size 14. The second line places the line at "1200C 0" which means center the line horizontally at location 1200 (4 inches from the left margin), and position the line vertically at position 0 (0 inches below the top margin).<br />
<br />
[[Music page]] data for many of the score on http://www.musedata.org are available as both [[stage2]] files and [[music page]] files. Using the [[music page]] files as input to ''muse2ps'' will generate better graphical notation results, since the automatically typeset data from the [[stage2]] files has been proofread and adjusted by a human.<br />
<br />
== Options ==<br />
<br />
Below is a list of the options which muse2ps understands. Options are given<br />
as the first (and only) argument to the program, starting with an equals sign (=), then followed by the options in any order, with no spaces between the options. For example, to set the music size to 18 and right-justify the last system on the last page, use the option string =z21j:<br />
cat file.md2 | muse2ps =z21j > file.ps<br />
When using characters which may be parsed by the command-line interpreter, you will have to enclose the option string in single quotes (you can do this all of the time if you are uncertain of the conditions in which they would be required):<br />
cat file.md2 | muse2ps '=z21js^{(..}}^T^title^' | ps2pdf - > file.pdf<br />
<br />
In option strings such as "=c<#>", replace <#> with an integer. <tt>[#]</tt> indicates an optional number.<br />
<br />
{|class="wikitable" cellpadding="0" cellspacing="0" border="0" style="width:100%"<br />
|- {{Style|table header}}<br />
! scope="col" width="100px" align="center"| muse2ps option index<br />
|-<br />
| <div style="column-count:3;-moz-column-count:3;-webkit-column-count:3"><br />
* {{nowrap|{{mopt|c}} compression}}<br />
* {{nowrap|{{mopt|C}} composer}}<br />
* {{nowrap|{{mopt|d}} diagnostics}}<br />
* {{nowrap|{{mopt|D}} dash spacing}}<br />
* {{nowrap|{{mopt|E}} eof insertion}}<br />
* {{nowrap|{{mopt|f}} fill by staff}}<br />
* {{nowrap|{{mopt|F}} fill by system}}<br />
* {{nowrap|{{mopt|g}} grand staff spacing}}<br />
* {{nowrap|{{mopt|G}} group selection}}<br />
* {{nowrap|{{mopt|h}} note space}}<br />
* {{nowrap|{{mopt|i}} indentation flag}}<br />
* {{nowrap|{{mopt|I}} indentation amount}}<br />
* {{nowrap|{{mopt|j}} justification}}<br />
* {{nowrap|{{mopt|k}} display options}}<br />
* {{nowrap|{{mopt|l}} page length}}<br />
* {{nowrap|{{mopt|m}} left margin}}<br />
* {{nowrap|{{mopt|M}} embed stage2 data}}<br />
* {{nowrap|{{mopt|n}} number of systems}}<br />
* {{nowrap|{{mopt|p}} page files input}}<br />
* {{nowrap|{{mopt|P}} embed page files}}<br />
* {{nowrap|{{mopt|Q}} minimum distance duration}}<br />
* {{nowrap|{{mopt|s}} system spine}}<br />
* {{nowrap|{{mopt|S}} title/system space}}<br />
* {{nowrap|{{mopt|t}} top margin}}<br />
* {{nowrap|{{mopt|T}} title}}<br />
* {{nowrap|{{mopt|u}} subtitle}}<br />
* {{nowrap|{{mopt|v}} staff spacing}}<br />
* {{nowrap|{{mopt|w}} system width}}<br />
* {{nowrap|{{mopt|W}} thin barlines}}<br />
* {{nowrap|{{mopt|x}} no suggestions}}<br />
* {{nowrap|{{mopt|X}} no last barline}}<br />
* {{nowrap|{{mopt|y}} no line controls}}<br />
* {{nowrap|{{mopt|Y}} no initial time signature}}<br />
* {{nowrap|{{mopt|z}} music size}}<br />
</div><br />
|}<br />
<br><br />
<br />
See also the Dmuse text file [[Media:muse2ps-options.dm | options.dm]], or the HTML equivalent [[Media:muse2ps-options.html| options.html]] for a brief description of each option.<br />
<br />
{| style="background-color:white" cellpadding="4"<br />
|- valign="top"<br />
| {{anchor|c_option}}<b>=c</b><#>|| Compression factor: This is measured as a percentage of the default. 100 = no compression (100%). Use smaller values to decrease the spacing between notes (allowing fewer pages in the score). Values larger than 100 will expand the distance between notes (increasing the number of pages in the score). This option is useful to force the last system of music to occur at the bottom of a page.<br />
<br />
|- valign="top"<br />
|{{anchor|C_option}}<b>=C</b>^string^ || Display the ''string'' as the composer's name at the top right side of the first page. See <b>=T</b> for the title, and <b>=u</b> for the sub-title. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|d_option}}<b>=d</b><#> || Diagnostics and Error Messages.<br />
bit 0 of #: ON = print error messages<br />
bit 1 of #: ON = print all diagnostics<br />
bit 2 of #: ON = print diagnostics from autoset<br />
bit 3 of #: ON = print diagnostics from mskpage<br />
bit 4 of #: ON = print diagnostics from pspage<br />
no number = 0x01: print error messages<br />
For example, =d31 turns on all error message toggles. This option is useful if the output PostScript data from muse2ps is empty. The messages go to standard error, while the PostScript data goes to standard output. Therefore, you can print the error messages and still save or pipe the PostScript data without the error messages mixing with the output data.<br />
<br />
|- valign="top"<br />
| {{anchor|D_option}}<b>=D</b> || Spacing between dashes. Will override spacing in stage2 files: 0 = use default, >0 = space between dashes (units are dash-length).<br />
<br />
|- valign="top"<br />
| {{anchor|E_option}}<b>=E</b> || <tt>/END</tt> = <tt>/eof</tt>. The muse2ps program allows for multiple parts to be entered from standard input in a single stream of data. Normally the data files representing each part are separated from each other by a line containing only "<tt>/eof</tt>" (lowercase; meaning "End of File"). Separate MuseData [[stage2]] files do not typically end in "<tt>/eof</tt>", but rather, they are required to contain the line "<tt>/END</tt>" (uppercase) to indicate the end of the data. After "<tt>/END</tt>", any textual comments are allowed. With the =E option, you do not need to separate files by "<tt>/eof</tt>", and instead, the next file in the sequence will start on the line coming after "<tt>/END</tt>". Note, however, that you cannot use the =E option if there is any commentary after "<tt>/END</tt>" in a file.<br />
<br />
|- valign="top"<br />
| {{anchor|f_option}}<b>=f</b> || Fill pages to the bottom by proportionally stretching all spacings. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|F_option}}<b>=F</b> || Fill pages to the bottom by adding to the intersystem space only. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|g_option}}<b>=g</b><#>|| Grand staff intra-space measured in multiples of ledger lines times 10. The default is 100, which is 10 ledger lines. Note that this distance reference is different from the =v values which define the distance from the top of one staff to the top of the next staff. For the =g, option, the distance is from the bottom of the top staff to the top of the bottom staff.<br />
<br />
|- valign="top"<br />
| {{anchor|G_option}}<b>=G</b>^group-name^ || Group name to process. The default is "score". Available groups are found on data line 11 at the top of each MuseData [[stage2]] file (excluding any single- or multi-line comments). Other possibilities might be "part" or "data".<br />
<br />
|- valign="top"<br />
| {{anchor|h_option}}<b>=h</b><#> || Alter the minimum allowed space between notes. This is measured as a percentage of the default. 100 = no change (100%).<br />
<br />
|- valign="top"<br />
|{{anchor|i_option}}<b>=i</b><#> || Initial system indentation options flag.<br />
* 0 = use program defaults (set indentation with <tt>=I</tt> option)<br />
* 1 = no indentation of first system of music<br />
* 2 = indent first system, and after every forced system break<br />
<br />
|- valign="top"<br />
| {{anchor|I_option}}<b>=I</b><#> || Specify the indentation amount for the first system in the music. If zero, then default indentation amount will be used. (see the <tt>=i</tt> option for turning off indentation).<br />
<br />
|- valign="top"<br />
|{{anchor|j_option}}<b>=j</b> || Right-justify the last system of the music so that it extends all of the way across the page. The default is NOT to right justify. Right-justification is a recursive process where measures from previous systems may be moved ahead in the score to cause all systems to have approximately the same note density.<br />
<br />
|- valign="top"<br />
| {{anchor|k_option}}<b>=k</b>^0x<tt>#</tt>^ || Display alternative options. Options are stored in a hexadecimal number prefixed with the string "<tt>0x</tt>" (C program-styled hex number). The default values are the 0 bit settings. The meaning of the bits in the hexadecimal number are (from least significant to most significant bit):<br />
<br />
<table cellpadding=0 cellspacing=0><br />
<tr valign=baseline><th>bit</th><td width=10></td><th>meaning</th></tr><br />
<br />
<tr valign=baseline><td>0</td><td></td><td><br />
<b>k-option activation flag</b><br />
* 1: <i>k</i> option is active; read options in more significant bits<br />
* 0: <i>k</i> option is inactive; used to turn off this option as a command-line override<br />
</td></tr><br />
<br />
<tr valign=baseline><td>1</td><td></td><td><br />
<b>Sforzando/rfz flag</b><br />
* 0: display sforzando as sf (rf)<br />
* 1: display sforzando as sfz (rfz)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>2</td><td></td><td><br />
<b>Sub-edit flag</b><br />
* 0: display editorial markup differently from regular data (such as adding brackets around editorial elements)<br />
* 1: do not display editorial data differently from regular data<br />
</td></tr><br />
<br />
<tr valign=baseline><td>3</td><td></td><td><br />
<b>No-editorial flag</b><br />
* 0: display editorial markup data<br />
* 1: do not display editorial markup data<br />
</td></tr><br />
<br />
<tr valign=baseline><td>4</td><td></td><td><br />
<b> Editorial markup in Roman font flag</b><br />
* 0: use cue-size music fonts for editorial marks<br />
* 1: use Times-Roan font for editorial marks: tr, dynamics<br />
</td></tr><br />
<br />
<tr valign=baseline><td>5</td><td></td><td><br />
<b>Ligature flag</b><br />
* 0: do not use ligatures in text<br />
* 1: use ligatures for "ffl", "ffi", "ff", "fl", and "fi"<br />
</td></tr><br />
<br />
<tr valign=baseline><td>6</td><td></td><td><br />
<b>Figured harmony flag</b><br />
* 0: place figured harmony (figured bass) below the staff<br />
* 1: place figured harmony (figured bass) above the staff<br />
</td></tr><br />
<br />
<tr valign=baseline><td>7</td><td></td><td><br />
<b> mheavy4 barline style flag</b><br />
* 0: mheavy4 barline represented by two heavy lines<br />
* 1: mheavy4 barline represented by one thin, one thick, and then another thin line<br />
</td></tr><br />
<br />
<tr valign=baseline><td>8</td><td></td><td><br />
<b>Multi-voice augmentation dot option</b><br />
* 0: allow overstrike of dots in different voices<br />
* 1: do not allow overstrike<br />
</td></tr><br />
<br />
<tr valign=baseline><td>9</td><td></td><td><br />
<b>New key signatures option</b><br />
* 0: don't print a new key signature if it is the same as the previous one on the staff<br />
* 1: print a new key signature even if it repeats the previous key signature on the staff<br />
</td></tr><br />
<br />
<tr valign=baseline><td>10</td><td></td><td><br />
<b>Mixed duration chords</b><br />
* 0: don't allow a mixture of white and black notes in chords<br />
* 1: allow mixture of white and black notes in chords<br />
</td></tr><br />
<br />
<tr valign=baseline><td>11</td><td></td><td><br />
<b>Suppress key signature flag </b><br />
* 0: display key signatures<br />
* 1: suppress printing of the key signature (such as for timpani parts)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>12</td><td></td><td><br />
<b>Editorial slurs flag</b><br />
* 0: all slurs are regular<br />
* 1: <tt>{ }</tt> and <tt>z x</tt> slurs are editorial slurs (dashed slurs)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>13</td><td></td><td><br />
<b>New clef sign flag </b><br />
* 0: large clefs at start of system, cue-size clefs for clef changes<br />
* 1: always use large clefs<br />
</td></tr><br />
<br />
</table><br />
<br />
|- valign="top"<br />
| {{anchor|l_option}}<b>=l</b><#>|| Length of a page. Distance is measured dots, at 300 dots to the inch. Default is 2740 dots. The default starting height is 120 dots. This will not be lowered, but may be raised to accommodate a longer page.<br />
<br />
|- valign="top"<br />
| {{anchor|m_option}}<b>=m</b><#> || Left margin, measured in at 300 dots/inch. The default is 200 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|M_option}}<b>=M</b> || Include the contents of the MuseData source files in the trailer section of the file embedded in PostScript comments (if MuseData [[stage2]] files are used as input.<br />
<br />
|- valign="top"<br />
| {{anchor|n_option}}<b>=n</b><#> || Maximum number of systems on a page. The default is no maximum.<br />
<br />
|- valign="top"<br />
| {{anchor|p_option}}<b>=p</b> || The source is a concatenated set of page specific i-files (also called .mpg files), not a set of MuseData files.<br />
<br />
|- valign="top"<br />
| {{anchor|P_option}}<b>=P</b> || Include listings of the page specific i-files, which are the source of the output PostScript data. Each page is separated.<br />
<br />
|- valign="top"<br />
| {{anchor|Q_option}}<b>=Q</b><#> || Duration which is assigned the minimum distance.<br />
1 = whole notes<br />
... . . .<br />
8 = eighth notes<br />
16 = sixteenth notes, etc.<br />
<br />
|- valign="top"<br />
| {{anchor|s_option}}<b>=s</b>^string^ || Custom left-hand spine. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=s^[(....)][(..)](.)[({..}..)]^<br />
Each dot in the system bracketing string represents one part, with the first dot in the string representing the top staff of the system. If a grand staff is used for any part, then use the colon character (:) for that part. Staves which should be bracketed together are enclosed in square brackets: <tt>[]</tt>. Staves which should be braced together are enclosed in curly braces: <tt>{}</tt>. Staves which should be barred together (barlines connecting between staves) are enclosed in parentheses: <tt>()</tt>. The caret character (^) is used to mark the start and top of the option string. Subsequent options occur immediately after the second caret character with no intervening space.<br />
<br />
|- valign="top"<br />
| {{anchor|S_option}}<b>=S</b><#> || Add extra space between the title and the first system of music: 0 = use default, >0 = lower the first system (units are 1/300th of an inch).<br />
<br />
|- valign="top"<br />
|{{anchor|t_option}}<b>=t</b><#> || Top of page. Default is 120 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|T_option}}<b>=T</b>^string^ || Display the ''string'' as a title at the top of the (first) page. See <b>=u</b> for sub-title, and <b>=C</b> for composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|u_option}}<b>=u</b>^string^ || Display the ''string'' as a sub-title at the top of the (first) page. See <b>=T</b> for the title, and <b>=C</b> for the composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|v_option}}<b>=v</b><#,#,#...#> || Custom spacings. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=v192,192,192,208,192,208,176,176,176,200<br />
The above example setting for the =v option can be used for a system with 8 parts (such as 4 woodwinds, 2 horns, and 4 string instruments). The first seven values describe the spacing between each staff in the system, and the last value is the spacing between systems on the page. The spacing between staves and systems is constant with muse2ps. The spacing values are 1/10th of the distance between two staff lines, and the spacing value is the distance from the top of one staff to the top of the next staff (or the top of the last staff on a system to the top of the staff on the next system for the last value in the list). See the <tt>=g</tt> option for spacing the staves of a grand staff (such as for piano music). When a grand staff is part of a system with more parts, then the distance between the grand staff and the next system is the distance between the top of the bottom staff of the grand-staff pair and the top of the next staff.<br />
<br />
|- valign="top"<br />
| {{anchor|w_option}}<b>=w</b><#> || System width, measured in at 300 dots/inch. The default is 2050 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|W_option}}<b>=W</b>[#] || Thin barline flag. 0 = use regular barlines. 1 = use thin barlines. No number after <tt>=W</tt> means the same as <tt>=W0</tt>.<br />
<br />
|- valign="top"<br />
| {{anchor|x_option}}<b>=x</b> || Defeat all part inclusion suggestions in the data<br />
<br />
|- valign="top"<br />
| {{anchor|X_option}}<b>=X</b>[#] || Leave off the last barline (for short examples). 0 = print last bar, 1 = don't print last bar, <tt>=X</tt> without a number is equivalent to <tt>=X1</tt>. Note: you can add extra staff-line space in the last bar by putting in <tt>irest</tt>s, but you must put <tt>irest</tt>s in all parts, and they must all represent the same note-type (duration). Note also: If the last barline is anything but a regular measure line, it will continue to print.<br />
<br />
|- valign="top"<br />
|{{anchor|y_option}}<b>=y</b> || Defeat all line control suggestions in the data.<br />
<br />
|- valign="top"<br />
|{{anchor|Y_option}}<b>=Y</b><#> || Suppress printing first time signature in score. Used for printing small examples which have a time signature in the data, but none desired in graphical notation. You can also use a time signature in the data of "<tt>T:9/0</tt>" to generate a <i>hidden</i> time signature, and not giving a time signature at the start of a file will result in not time signature being printed. 0 = print initial time signatures (used to override options embedded in data). 1 = suppress first time signature (<tt>=Y</tt> is equivalent to <tt>=Y1</tt>).<br />
<br />
|- valign="top"<br />
| {{anchor|z_option}}<b>=z</b><#> || Music size: choices are 6,14,16,18,21. 14 is the default. This value describes the distance between staff lines in units of 300 dots per inch.<br />
<br />
|}<br />
<br />
== Multi-file input specification ==<br />
<br />
Normally individual MuseData [[stage2]] files contain a single part. These part files are concatenated together and sent via standard input into the muse2ps program. In order for the muse2ps program to be able to segment the separate part files from the original stream the marker "<tt>/eof</tt>" is added after the last line in each file, and the marker "<tt>//</tt>" is ''required'' after the end of all datafile input into muse2ps. <br />
<br />
Typically the last line of a [[stage2]] MuseData file consists of the string "<tt>/END</tt>" (in upper-case), so add the line "<tt>/eof</tt>" (in lower-case) after it: <br />
/END<br />
/eof<br />
<br />
The very last three lines of input to muse2ps should look like this:<br />
<br />
/END<br />
/eof<br />
//<br />
<br />
If you specify the =E option when running muse2ps, the "<tt>/END</tt>" markers will be used to segment the separate part files internally.<br />
<br />
The PERL script [[Media:collatemd2.pl|collatemd2]] (included with the source code to muse2ps) can be used to concatenate multiple [[stage2]] part files into a single input stream for muse2ps. The output of the PERL script can be saved to a file for later processing with muse2ps. In this case the recommended file extension for the multi-file MuseData content is <b>.md2</b> . Here are example uses of [[Media:collatemd2.pl|collatemd2]]:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
You many have to type "<tt>./collatemd2</tt>" instead of "<tt>collatemd2</tt>" if the PERL program is in the current directory and the current directory is not in the command search path. If you download the program from this page, remove the .pl extension when saving (and use a lower-case first letter for the filename). You may have to set the permissions to allow it to be run as a program with the unix command: <tt>chmod 0755 collatemd2</tt>.<br />
<br />
Alternatively, you can save the output from [[Media:collatemd2.pl|collatemd2]] into a file for later use with muse2ps:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] > [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]]<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
When downloading MuseData [[stage2]] files from http://www.musedata.org , the parts are all combined into a single multi-file MuseData file which is the equivalent to the output from [[Media:collatemd2.pl|collatemd2]].<br />
<br />
=== Multiple Music Page files ===<br />
<br />
When concatenating multiple Music Page (MPG) files, separate each file's content with a line with the single capital letter "P" on it. Example of how to do this on the command line, creating a PDF file:<br />
<br />
<source lang="bash"><br />
for i in ??<br />
do<br />
cat $i<br />
echo P<br />
done | muse2ps =p | ps2pdf - - > output.pdf<br />
</source><br />
<br />
N.B.: Probably two slashes also need to be added at the end of the last page; otherwise, it will not print:<br />
<br />
//<br />
<br />
== Color highlighting ==<br />
<br />
A soon-to-be released update of muse2ps will allow for coloring of notes in the score. This colorization can be used in conjunction with displaying search results, or highlighting notes in an example. <br />
<br />
If you place an "R" character in column 14 for note (or rest) records, That note will be highlighted red. A capital "R" will also highlight the stem of the note, while a lower case "r" will color only the notehead. If multiple colored notes all share a common beam, then that beam is also highlighted.<br />
<br />
The letter "B" can be used in column 14 to color notes blue, and the letter "G" can be used to color notes green. The lowercase versions "r" and "g" can be used to color only the noteheads and not the stems.<br />
<br />
== Embedded options ==<br />
<br />
The <i>muse2ps</i> program can read options sent in the input data stream. Options can be embedded in the input data as single-line comments. In [[stage2]] files, single-line comments start with an at-sign (<tt>@</tt>) in the first column of the line. Following the comment marker comes an option identification string "<tt>muse2psv1</tt>", with "<tt>v1</tt>" being the option version level (currently level 1, and can be used in the future to keep options backwards and forwards compatible. Default options, listed in the previous section describing the options, can be overridden by using the default option setting method which adds two equal signs in a row, followed by any options. Multiple default option <br />
comments may occur to prevent the length of the line from getting too long (it is a good idea to limit the length of the line for full backwards compatibility with dmuse and [[stage2]] files, although the current line limit in dmuse/muse2ps is 900 characters).<br />
<br />
Option for specific music sizes can be set by placing the size option between the two equals signs in the option comment. Here is an example option comment header:<br />
<br />
@muse2psv1==z18<br />
@muse2psv1==T^Bach Chorale^u^bwv-277^C^J.S. Bach (1685-1750)^<br />
@muse2psv1=z14=v200,155,155,155j<br />
@muse2psv1=z18=v240,195,195,195j<br />
@muse2psv1=z21=v300,230,230,230j<br />
<br />
The first two lines are default option settings for all music sizes. The first line sets the default music size to 18 if no size is given on the command line to muse2ps. The second line sets the title, subtitle, and composer fields on the title page. The last three lines set the vertical spacing between staves at various music sizes; the first for size 14, then size 18, and the last line for size 21.<br />
<br />
== ps2pdf options ==<br />
<br />
The default behavior of the ps2pdf program is to assume that the input data is formatted for A4 paper. The default output size for muse2ps is US letter. In order for ps2pdf to generate output pages with the correct dimensions, add the option <tt>-sPAPERSIZE=letter</tt> as an argument to the program:<br />
ps2pdf -sPAPERSIZE=letter<br />
<br />
Another pair of useful options (not needed for output from muse2ps, but useful when adding footers at later states in data program) embed the fonts used in the file:<br />
ps2pdf -sPAPERSIZE=letter -dCompatibilityLevel=1.4 -dPDFSETTINGS=/prepress<br />
<br />
For example the Symbol font is not present on the Apple iPad PDF viewer. When using the options in this example, the Symbol font (or the portion used) would be embedded in the file and therefore viewable on an iPad.<br />
<br />
== Creating images ==<br />
<br />
Graphical images can be created in various ways. A good method is to convert PostScript output from muse2ps to a bitmap image with the unix command-line program pstopnm. For smaller examples and converting to other images formtas, Imagemagick's convert is another command-line which is useful. Both pstopnm and convert are often pre-installed on linux computers, and both are available for free on the internet. They should also work with OS X, and can be used in MS Windows using [http://www.cygwin.com cygwin].<br />
<br />
To create an image pipe the output from muse2ps into pstopnm, and convert to a bitmapped image at 300 dots per inch. Next pipe the resulting image to convert for further processing. In the following example, the image is first trimmed from a full page to just the area which contains the printed music, then the image is resized to 33% of the original size for use on the web, and saved into a PNG file.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -resize '33%' [[Media:scale.png|scale.png]]<br />
<br />
=== Transparent background ===<br />
<br />
Use the options <tt>-negate -alpha copy -negate</tt> to make the background of the image transparent so that it can be displayed on any background color. Here is the example image which was just created with the above command:<br />
<br />
[[Image:scale.png]]<br />
<br />
Notice that the background color of the image is white, which becomes noticeable when placing the image on a non-white background color. Now create an image with a transparent background:<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -negate -alpha copy -negate \<br />
-resize '33%' [[Media:scale-transparent.png|scale.png]]<br />
<center><br />
<table cellspacing=0 cellpadding=3><tr bgcolor=#ffffff><td bgcolor=#4499aa><br />
[[Image:scale-transparent.png]]<br />
</td><td width=10><br />
<td bgcolor=#ffaa44>[[Image:scale-transparent.png]]<br />
</td></tr></table></center><br />
<br />
<br />
=== Images for printed publications ===<br />
<br />
To insert musical examples in a Microsoft or similar word processing program, do not resize the image, but leave it at the 300 dots per inch size of the original. Then you can rescale the image in the word processor as necessary. This will optimize the quality of the image in the final printout from the word processor.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim [[Media:scale-large.png|scale.png]]<br />
<br />
== Humdrum interface ==<br />
<br />
The muse2ps program can be used in conjunction with the [http://extra.humdrum.org/man/hum2muse hum2muse] program. Here is an example of how to create graphical music notation using the following Humdrum data as an example:<br />
<br />
<table cellspacing=0><tr bgcolor=white valign=top><td><htmlet>beethoven-kern</htmlet></td><br />
<td width=10></td><br />
<td> <br />
<pre><br />
hum2muse file.krn | muse2ps \<br />
| ps2pdf - - > file.png<br />
</pre><br />
[[Image:beethoven-kern.png]] <br />
<br><br />
<br><br />
<br><br />
</td><br />
</tr><br />
</table><br />
<br />
Images can be generated from Humdrum data online by pasting/typing data into the [http://kern.humdrum.org/cgi-bin/kern/kseditor Humdrum online editor]. For example, copy and paste the above Humdrum data into the left black box on the Humdrum online editor page, and the click on the red "Generate" button to produce an image of the graphical music using the default settings.<br />
<br />
Here is the intermediate MuseData which is passed between [http://extra.humdrum.org/man/hum2muse hum2muse] and muse2ps: [[Media:beethoven-kern.md2 | beethoven.md2]]. Try copying / pasting<br />
this data into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in the same music notation as seen above.<br />
<br />
== Zbex programs ==<br />
<br />
In the muse2ps source code directory, the sub-directory <tt>zprogs</tt> contains the [[zbex]] programs used to generate the file zfun32.c. Most necessary files needed to create [http://www.ccarh.org/software/muse2ps/muse2ps/zfun32.c zfun32.c] are in that directory, but perhaps not all of them. These programs are not used directly by muse2ps, but are compiled into zbex executable code within zfun32.c. The muse2ps is essentially a non-interactive version of [[dmuse]] (see http://dmuse.ccarh.org). The [[dmuse]] program is a text editor which also has a built-in [[zbex]] language interpreter and graphical music display capabilities. The interpreter portion of [[dmuse]] has been extracted for non-interactive use in muse2ps.<br />
<br />
== Examples == <br />
<br />
Further examples of MuseData [[stage2]] files converted into graphical music notation with muse2ps can be found on the [[MuseData examples]] page.<br />
<br />
== Feature requests and bug reports ==<br />
<br />
See the page: [[Muse2ps feature requests and bug reports]].</div>Edchttps://wiki.ccarh.org/index.php?title=Muse2ps&diff=10508Muse2ps2021-03-30T17:39:26Z<p>Edc: /* Multi-file input specification */</p>
<hr />
<div>__TOC__<br />
<br />
== Overview == <br />
<br />
The <b>muse2ps</b> program is a command-line version of the [[autoset]], [[mskpage]] and [[pspage]] programs which are usually run within the [[dmuse]] editor using the built-in [[zbex language]] interpreter. The ''muse2ps'' program reads MuseData [[stage2]] data or [[page file]] data from standard input and converts them into PostScript data representing graphical musical notation which is sent to standard output. The following diagram illustrates the flow of data through ''muse2ps'':<br />
<br />
<br />
<center><br />
[[File:muse2ps-dataflow.svg]]<br />
</center><br />
<br />
The ''muse2ps'' program can accept two forms of input. By default, the ''muse2ps'' program will read multi-file [[stage2]] data from standard input. MuseData [[stage2]] files contain primarily symbolic musical data with possibly a little bit of formatting information (such as system and page breaks). The ''muse2ps'' program will format this symbolic music internally into [[page files]] which give explicit information about the placement of notes, slurs, beams, dynamics, lyrics, ''etc.'' on each page of music.<br />
<br />
Alternatively, if the <tt>=p</tt> option is given as an [[argument]] to ''muse2ps'', the program can read multi-file [[page files]] directly from standard input. Typically, [[stage2]] files are converted automatically into [[pages files]] and then further processing is done on these [[page files]] in order to produce a final typeset score of the graphical music notation. For example, the [[vskpage]] is used to refine the vertical spacing of staves and systems on a page of music within [[page files]], and [[eskpage]] is used to interactively edit the position of graphical elements within [[page files]].<br />
<br />
The only output from ''muse2ps'' (besides error messages) is PostScript data which describes the graphical music notation in a printable score of the music. This data can be further processed, such as sending directly to a PostScript printer, or converting into PDF files for web distrubution of the notated music. The representation of music notation within the PostScript file is in the form of bit-mapped musical fonts. The musical fonts are designed for use with 300 DPI resolution printers when printed at the native resolution (originally these fonts were designed for [http://en.wikipedia.org/wiki/Printer_Command_Language PCL-based printers]). These fonts have the unique feature of [http://en.wikipedia.org/wiki/Dither dithered] edges on sloped beams to minimize the visual effect of pixel stepping at 300 DPI resolution. Minor notation editing can be done on the PostScript/PDF files in programs such as Adobe Illustrator. If you print via PDF files, you may want to uncheck the page-scaling option in the printing program in order to avoid aliasing artifacts in the hard copy due to changing the intended size of the music on the page. <br />
<br />
Two other forms of data can be embedded within the PostScript output. If the <tt>=M</tt> option is given as an [[argument]] to the ''muse2ps'' program, then the original [[stage2]] data will be stored within comments in the PostScript data. Likewise, if the <tt>=P</tt> option is given, the [[page file]] data will be included in the PostScript output as comments. The [[page file]] data will either come from automatic generation using [[autoset]]/[[mskpage]], or from standard input if you use the <tt>=p</tt> option.<br />
<br />
There are also numerous options which primarily deal with the formatting of [[stage2]] files with the [[autoset]] and [[mskpage]] program components. See the [[#Options| options]] section below for a complete list of the options.<br />
<br />
== Download ==<br />
<br />
The ''muse2ps'' program executables for various operating systems or the source code can be downloaded from the following table. <b>Instructions for setting up the program for use can be found ''[[Muse2ps_installation_instructions| here]]''.</b><br />
<br />
<br />
<center><br />
{{muse2psdownloadtable}}<br />
</center><br />
<br />
== Online ==<br />
<br />
The ''muse2ps'' program can be run online at http://www.musedata.org/mdconverter . If you click on [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icons next to data found on the http://www.musedata.org website, the musical data will be loaded into this online converter from which PostScript, PDF, or PNG images of the music can be generated. <br />
<br />
For example, click on the [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icon on the information page for this [http://www.musedata.org/encodings/bach/bg/chorals/0428/ Bach chorale], then click on the {{keypress|Submit}} button on the converter page to generate a PDF file of the chorale with the default settings. Then try setting some options, such as using "<tt>[(.)(.)(.)(.)]</tt>" for the <b>System spine</b> option to prevent barlines from being drawn between staves in the score.<br />
<br />
You can create your own MuseData content and print with the online converter as well. Copy and paste the following MuseData content: [[Media:beethoven-kern.md2 | beethoven.md2]] into into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in this graphical music notation:<br />
<center><br />
[[Image:beethoven-kern.png]]<br />
</center><br />
<br />
== Command-line examples ==<br />
<br />
The simplest use of ''muse2ps'' is to send it MuseData [[stage2]] files as standard input, and save standard output from the program into a PostScript file:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps > [[Media:bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
<br />
You may need to use "<tt>./muse2ps</tt>" instead of "<tt>muse2ps</tt>" in the above command if the ''muse2ps'' program file is in the current directory, but the current directory is not in your [http://en.wikipedia.org/wiki/PATH_%28variable%29 command search path]. The PostScript output can then be further processed in an external program. Usually it is more convenient to work with the data as a PDF file. The process of converting PostScript to PDF can be done by many methods. For example, Acrobat Distiller or Acrobat Professional will convert PostScript files into PDF files. There are online converters, such as this one: http://www.ps2pdf.com/convert.htm . And on most linux computers you can convert PostScript into PDF files using the [http://pages.cs.wisc.edu/~ghost/doc/gnu/5.50/Ps2pdf.htm ps2pdf] command:<br />
ps2pdf [[Media:Bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
This will create the file [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]] (replacing the .ps extension with a .pdf extention automatically when saving the PDF file). If you click on the PDF file link in the previous sentence, you should see the musical notation for J.S. Bach's Well-Tempered Clavier, Book I, Prelude 1 in C major.<br />
<br />
An alternate method of using ps2pdf to generate a PDF file in a single step in conjunction with ''muse2ps'' would be with this command-line construction:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps | ps2pdf - > [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]]<br />
<br />
=== Last system justification ===<br />
<br />
By default ''muse2ps'' does not right-justify the last system of the music on the last page of the output (as can be seen in [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]]). If you<br />
want to justify the last system, use the <tt>=j</tt> option as an argument to ''muse2ps'':<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =j | ps2pdf - > [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]<br />
The ''muse2ps'' (or more precisely, the internal [[mskpage]] component) will possibly adjust line breaks on one or more of the previous systems in the score in order to fill enough music onto the last system, and then stretch or contract the music on the last system to fit the width between margins exactly. The <tt>=j</tt> option can potentially take significantly more time to process the input data than when it is omitted. The reason for the increased processing time can be seen by comparing [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]] and [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]. In order to right-justify the last system of the music, all systems in the music were recursively re-typeset so that the first system in the music contains only three measures instead of four.<br />
<br />
=== Grand-Staff vertical spacing ===<br />
<br />
The distance between staves in the grand staff (which is used for instruments such as the piano) can be controlled by the =g option. An integer number follows after the letter "g" in the option which specifies the distance between the two staves in terms of 1/10ths of the distance between staff lines. The default value for this option is =g100 which means that the distance between the top line of each staff is 10 staff lines.<br />
<br />
Here is an example of reducing the spacing between the staves to nothing. The =g50 option in this case means that the distance between the top of each staff is 5 staff lines. And since this is the height of a single staff, there will be no space between the two staves:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =g50 | ps2pdf - > [[Media:bach-wtc1p01-g50.pdf|bach-wtc1p01-g50.pdf]]<br />
<br />
<br />
=== Single-staff spacing in a system ===<br />
<br />
A ''system'' is a collection of staves which represent different instruments playing at the same time. The distance between these staves can be controlled with the =v option. Following =v is a list of comma-separated integers (with no intervening spaces). The unit for these numbers is the same as in the =g option: 1/10th of the distance between successive staff lines.<br />
<br />
The default spacing between staves will depend on whether they are supposed to be barred together or not. Here is the default spacing for four staves of a string quartet:<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
=== Using multiple options ===<br />
<br />
In the previous examples, the prelude is printed on two pages, with a single orphan system occurring on the second page. One way to force the music to fit onto a single page is to set the top margin from 120 pixels to 0 pixels with the option <tt>=t0</tt> and the printable length on the page to 3000 pixels (10 inches) with the option <tt>=l3000</tt>. When supplying multiple optional settings to muse2ps, there is only one option string which starts with the equals character (<tt>=</tt>) and is followed by all options with no spaces. Here is an example of using the <tt>=t0</tt>, <tt>=l3000</tt> and <tt>=j</tt> options at the same time, resulting in a single page of music:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =jt0l3000 | ps2pdf - > [[Media:bach-wtc1p01-jt0l3000.pdf|bach-wtc1p01-jt0l3000.pdf]]<br />
The order of the options in the option string is not important, so for example, "<tt>=l3000t0j</tt>" would yield the same results as "<tt>=jt0l3000</tt>".<br />
<br />
Instead of adjusting the vertical margins with the <tt>=t</tt> and <tt>=l</tt> options, you can also decrease the spacing between staves globally on the system. To do this, use the =v option followed by a list of distances between each staff on the system. In this example there are two staves in each system, so one value is expected after "=v". If there were three or more staves, then the vertical spacing values are separated by commas (and no spaces).<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =v160jt300 | ps2pdf - > [[Media:bach-wtc1p01-v160jt300.pdf|bach-wtc1p01-v160jt300.pdf]]<br />
<br />
In the above example, "<tt>=v160</tt>" means make the spacing between staves on the system slightly more than 1/2 an inch; "<tt>=j</tt>" means to right-justify the last system of music; and "<tt>t300</tt>" means add an extra inch to the top margin (the default setting is "<tt>=t120</tt>".<br />
<br />
=== Music size ===<br />
<br />
The ''muse2ps'' program can typeset music in several sizes: 6, 14, 16, 18 and 21. These numbers refer to the pixel count (at 300 DPI) between successive staff lines. For example, here is a zoom-in of music typeset using the size 6 font, where each staff line is one pixel wide, and there are 5 pixels in the gap between lines, making each staff line spaced every 6 pixels and hence the name "size 6":<br />
<br />
<center><br />
[[File:Dmuse-size6.png|411px]]<br />
</center><br />
<br />
<br />
The default size that ''muse2ps'' will typeset music in is size 14. To display the music at other sizes, use the <tt>=z</tt> option followed by the size. Here is the example prelude printed in all sizes (with right-justification of the last system using <tt>=j</tt> also added to the option string):<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z6j&nbsp;&nbsp;| ps2pdf - > [[Media:bach-wtc1p01-z6j.pdf|bach-wtc1p01-z6j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z14j | ps2pdf - > [[Media:bach-wtc1p01-z14j.pdf|bach-wtc1p01-z14j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z16j | ps2pdf - > [[Media:bach-wtc1p01-z16j.pdf|bach-wtc1p01-z16j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z18j | ps2pdf - > [[Media:bach-wtc1p01-z18j.pdf|bach-wtc1p01-z18j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z21j | ps2pdf - > [[Media:bach-wtc1p01-z21j.pdf|bach-wtc1p01-z21j.pdf]]<br />
<br />
Full-scores are typically printed at size 14 (particularly scores with many parts). Parts for performers are typically printed at sizes 18 or 21. Piano music is typically printed at size 16, and Size 18 has dither on two-pixel wide staff lines. The approximate equivalents to point sizes in regular text (multiplying by the factor 72/300 and then multiplying by 3):<br />
<br />
<center><br />
{| class="wikitable" cellpadding="0" cellspacing="0" border="0"<br />
|- |- {{Style|table header}}<br />
! scope="col" align="left" | MuseData music size<br />
! scope="col" align="left" | Staff height (mm)<br />
! score="col" align="left" | Approximate text font size<br />
! score="col" align="left" | Musical application<br />
|-<br />
| 6 || 2.03 mm || 4 pt || none<br />
|-<br />
| 14 || 4.74 mm || 10 pt || full scores<br />
|-<br />
| 16 || 5.42 mm || 11.5 pt || piano music, vocal scores<br />
|-<br />
| 18 || 6.10 mm || 13 pt || instrumental parts<br />
|-<br />
| 21 || 7.11 mm || 15 pt || large-size instrumental parts<br />
|}<br />
</center><br />
<br />
=== Extracting MPG intermediate data ===<br />
<br />
When a MuseData [[stage2]] file is converted into graphical music notation as PostScript output from ''muse2ps'', it will pass through two data transformation steps. The first step is a conversion from [[stage2]] data into non-page-specific [[i-files]] which is accomplished with the [[autoset]] component. Then these "non-page-specific" [[i-files]] are converted into "page-specific" [[page files|i-files]] (or Music Page (MPG) files) which describe the precise position of musical elements on each page of typeset music. This [[music page]] data can be extracted from the program surreptitiously by using the "=P" option. This will cause the [[MPG]] data to be embedded in comments within the PostScript output. Each page of MPG data will be stored in a sequence of comments starting with "<tt>%=BeginMPGData: 1</tt>", where <tt>1</tt> is the data for page one. And each page of MPG data is ended by the comment <tt>"%=EndMPGData: 1"</tt>.<br />
<br />
All MuseData/dmuse related comments in the PostScript output start with the comment marker "%=", so the MPG data can easily be separated from the PostScript content and other irrelevant comments in a manner such as this:<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =P | grep "^%=" > [[Media:Mpg-comments.txt|mpg-comments.txt]]<br />
The [[regular expression]] search string "<tt>^%=</tt>" used in the [http://en.wikipedia.org/wiki/Grep grep] command means extract lines from the input which start with the two characters "<tt>%=</tt>".<br />
<br />
A PERL utility program, called [[Media:unpackmpg.pl|unpackmpg]], for extracting the MPG data from the comments is included with the source code for ''muse2ps'':<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =Pg85jt200l3000 | [[Media:unpackmpg.pl|unpackmpg]] > [[Media:Mpg-comments.mpg|mpg-comments.mpg]]<br />
In the above command the options mean:<br />
* <tt>=P</tt>: Output [[music page]] data.<br />
* <tt>=g85</tt>: Set the distance between the staves in the grand staff to 8.5 staff lines (default is 100, or 10 staff lines).<br />
* <tt>=j</tt>: Right-justify the last system of the music.<br />
* <tt>=t200</tt>: Set the top margin to 2/3 of a inch below the base position.<br />
* <tt>=l3000</tt>: Set the vertical printable region to 10 inches.<br />
<br />
=== Inputting MPG data (adding a title) ===<br />
<br />
The extracted [[music page]] data from the previous section can be edited (such as to add a title) and then can be reprocessed by ''muse2ps'' to generate PostScript output:<br />
cat [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] | muse2ps =p | ps2pdf - > [[Media:Bach-wtc1p01-title.pdf|bach-wtc1p01-title.pdf]]<br />
<br />
In this case the file [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] is the equivalent to the MPG data generated by ''muse2ps'' in the previous section: [[Media:Mpg-comments.mpg|mpg-comments.mpg]], but with these three lines added to generate a title for the first page:<br />
<br />
<pre><br />
X 14<br />
X 46 1200C 0 Well-Tempered Clavier, Book I, Prelude 1 in C major<br />
X 37 1200C 50 BWV 846<br />
</pre><br />
<br />
The first line sets the font indexes relative to music size 14. The second line places the line at "1200C 0" which means center the line horizontally at location 1200 (4 inches from the left margin), and position the line vertically at position 0 (0 inches below the top margin).<br />
<br />
[[Music page]] data for many of the score on http://www.musedata.org are available as both [[stage2]] files and [[music page]] files. Using the [[music page]] files as input to ''muse2ps'' will generate better graphical notation results, since the automatically typeset data from the [[stage2]] files has been proofread and adjusted by a human.<br />
<br />
== Options ==<br />
<br />
Below is a list of the options which muse2ps understands. Options are given<br />
as the first (and only) argument to the program, starting with an equals sign (=), then followed by the options in any order, with no spaces between the options. For example, to set the music size to 18 and right-justify the last system on the last page, use the option string =z21j:<br />
cat file.md2 | muse2ps =z21j > file.ps<br />
When using characters which may be parsed by the command-line interpreter, you will have to enclose the option string in single quotes (you can do this all of the time if you are uncertain of the conditions in which they would be required):<br />
cat file.md2 | muse2ps '=z21js^{(..}}^T^title^' | ps2pdf - > file.pdf<br />
<br />
In option strings such as "=c<#>", replace <#> with an integer. <tt>[#]</tt> indicates an optional number.<br />
<br />
{|class="wikitable" cellpadding="0" cellspacing="0" border="0" style="width:100%"<br />
|- {{Style|table header}}<br />
! scope="col" width="100px" align="center"| muse2ps option index<br />
|-<br />
| <div style="column-count:3;-moz-column-count:3;-webkit-column-count:3"><br />
* {{nowrap|{{mopt|c}} compression}}<br />
* {{nowrap|{{mopt|C}} composer}}<br />
* {{nowrap|{{mopt|d}} diagnostics}}<br />
* {{nowrap|{{mopt|D}} dash spacing}}<br />
* {{nowrap|{{mopt|E}} eof insertion}}<br />
* {{nowrap|{{mopt|f}} fill by staff}}<br />
* {{nowrap|{{mopt|F}} fill by system}}<br />
* {{nowrap|{{mopt|g}} grand staff spacing}}<br />
* {{nowrap|{{mopt|G}} group selection}}<br />
* {{nowrap|{{mopt|h}} note space}}<br />
* {{nowrap|{{mopt|i}} indentation flag}}<br />
* {{nowrap|{{mopt|I}} indentation amount}}<br />
* {{nowrap|{{mopt|j}} justification}}<br />
* {{nowrap|{{mopt|k}} display options}}<br />
* {{nowrap|{{mopt|l}} page length}}<br />
* {{nowrap|{{mopt|m}} left margin}}<br />
* {{nowrap|{{mopt|M}} embed stage2 data}}<br />
* {{nowrap|{{mopt|n}} number of systems}}<br />
* {{nowrap|{{mopt|p}} page files input}}<br />
* {{nowrap|{{mopt|P}} embed page files}}<br />
* {{nowrap|{{mopt|Q}} minimum distance duration}}<br />
* {{nowrap|{{mopt|s}} system spine}}<br />
* {{nowrap|{{mopt|S}} title/system space}}<br />
* {{nowrap|{{mopt|t}} top margin}}<br />
* {{nowrap|{{mopt|T}} title}}<br />
* {{nowrap|{{mopt|u}} subtitle}}<br />
* {{nowrap|{{mopt|v}} staff spacing}}<br />
* {{nowrap|{{mopt|w}} system width}}<br />
* {{nowrap|{{mopt|W}} thin barlines}}<br />
* {{nowrap|{{mopt|x}} no suggestions}}<br />
* {{nowrap|{{mopt|X}} no last barline}}<br />
* {{nowrap|{{mopt|y}} no line controls}}<br />
* {{nowrap|{{mopt|Y}} no initial time signature}}<br />
* {{nowrap|{{mopt|z}} music size}}<br />
</div><br />
|}<br />
<br><br />
<br />
See also the Dmuse text file [[Media:muse2ps-options.dm | options.dm]], or the HTML equivalent [[Media:muse2ps-options.html| options.html]] for a brief description of each option.<br />
<br />
{| style="background-color:white" cellpadding="4"<br />
|- valign="top"<br />
| {{anchor|c_option}}<b>=c</b><#>|| Compression factor: This is measured as a percentage of the default. 100 = no compression (100%). Use smaller values to decrease the spacing between notes (allowing fewer pages in the score). Values larger than 100 will expand the distance between notes (increasing the number of pages in the score). This option is useful to force the last system of music to occur at the bottom of a page.<br />
<br />
|- valign="top"<br />
|{{anchor|C_option}}<b>=C</b>^string^ || Display the ''string'' as the composer's name at the top right side of the first page. See <b>=T</b> for the title, and <b>=u</b> for the sub-title. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|d_option}}<b>=d</b><#> || Diagnostics and Error Messages.<br />
bit 0 of #: ON = print error messages<br />
bit 1 of #: ON = print all diagnostics<br />
bit 2 of #: ON = print diagnostics from autoset<br />
bit 3 of #: ON = print diagnostics from mskpage<br />
bit 4 of #: ON = print diagnostics from pspage<br />
no number = 0x01: print error messages<br />
For example, =d31 turns on all error message toggles. This option is useful if the output PostScript data from muse2ps is empty. The messages go to standard error, while the PostScript data goes to standard output. Therefore, you can print the error messages and still save or pipe the PostScript data without the error messages mixing with the output data.<br />
<br />
|- valign="top"<br />
| {{anchor|D_option}}<b>=D</b> || Spacing between dashes. Will override spacing in stage2 files: 0 = use default, >0 = space between dashes (units are dash-length).<br />
<br />
|- valign="top"<br />
| {{anchor|E_option}}<b>=E</b> || <tt>/END</tt> = <tt>/eof</tt>. The muse2ps program allows for multiple parts to be entered from standard input in a single stream of data. Normally the data files representing each part are separated from each other by a line containing only "<tt>/eof</tt>" (lowercase; meaning "End of File"). Separate MuseData [[stage2]] files do not typically end in "<tt>/eof</tt>", but rather, they are required to contain the line "<tt>/END</tt>" (uppercase) to indicate the end of the data. After "<tt>/END</tt>", any textual comments are allowed. With the =E option, you do not need to separate files by "<tt>/eof</tt>", and instead, the next file in the sequence will start on the line coming after "<tt>/END</tt>". Note, however, that you cannot use the =E option if there is any commentary after "<tt>/END</tt>" in a file.<br />
<br />
|- valign="top"<br />
| {{anchor|f_option}}<b>=f</b> || Fill pages to the bottom by proportionally stretching all spacings. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|F_option}}<b>=F</b> || Fill pages to the bottom by adding to the intersystem space only. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|g_option}}<b>=g</b><#>|| Grand staff intra-space measured in multiples of ledger lines times 10. The default is 100, which is 10 ledger lines. Note that this distance reference is different from the =v values which define the distance from the top of one staff to the top of the next staff. For the =g, option, the distance is from the bottom of the top staff to the top of the bottom staff.<br />
<br />
|- valign="top"<br />
| {{anchor|G_option}}<b>=G</b>^group-name^ || Group name to process. The default is "score". Available groups are found on data line 11 at the top of each MuseData [[stage2]] file (excluding any single- or multi-line comments). Other possibilities might be "part" or "data".<br />
<br />
|- valign="top"<br />
| {{anchor|h_option}}<b>=h</b><#> || Alter the minimum allowed space between notes. This is measured as a percentage of the default. 100 = no change (100%).<br />
<br />
|- valign="top"<br />
|{{anchor|i_option}}<b>=i</b><#> || Initial system indentation options flag.<br />
* 0 = use program defaults (set indentation with <tt>=I</tt> option)<br />
* 1 = no indentation of first system of music<br />
* 2 = indent first system, and after every forced system break<br />
<br />
|- valign="top"<br />
| {{anchor|I_option}}<b>=I</b><#> || Specify the indentation amount for the first system in the music. If zero, then default indentation amount will be used. (see the <tt>=i</tt> option for turning off indentation).<br />
<br />
|- valign="top"<br />
|{{anchor|j_option}}<b>=j</b> || Right-justify the last system of the music so that it extends all of the way across the page. The default is NOT to right justify. Right-justification is a recursive process where measures from previous systems may be moved ahead in the score to cause all systems to have approximately the same note density.<br />
<br />
|- valign="top"<br />
| {{anchor|k_option}}<b>=k</b>^0x<tt>#</tt>^ || Display alternative options. Options are stored in a hexadecimal number prefixed with the string "<tt>0x</tt>" (C program-styled hex number). The default values are the 0 bit settings. The meaning of the bits in the hexadecimal number are (from least significant to most significant bit):<br />
<br />
<table cellpadding=0 cellspacing=0><br />
<tr valign=baseline><th>bit</th><td width=10></td><th>meaning</th></tr><br />
<br />
<tr valign=baseline><td>0</td><td></td><td><br />
<b>k-option activation flag</b><br />
* 1: <i>k</i> option is active; read options in more significant bits<br />
* 0: <i>k</i> option is inactive; used to turn off this option as a command-line override<br />
</td></tr><br />
<br />
<tr valign=baseline><td>1</td><td></td><td><br />
<b>Sforzando/rfz flag</b><br />
* 0: display sforzando as sf (rf)<br />
* 1: display sforzando as sfz (rfz)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>2</td><td></td><td><br />
<b>Sub-edit flag</b><br />
* 0: display editorial markup differently from regular data (such as adding brackets around editorial elements)<br />
* 1: do not display editorial data differently from regular data<br />
</td></tr><br />
<br />
<tr valign=baseline><td>3</td><td></td><td><br />
<b>No-editorial flag</b><br />
* 0: display editorial markup data<br />
* 1: do not display editorial markup data<br />
</td></tr><br />
<br />
<tr valign=baseline><td>4</td><td></td><td><br />
<b> Editorial markup in Roman font flag</b><br />
* 0: use cue-size music fonts for editorial marks<br />
* 1: use Times-Roan font for editorial marks: tr, dynamics<br />
</td></tr><br />
<br />
<tr valign=baseline><td>5</td><td></td><td><br />
<b>Ligature flag</b><br />
* 0: do not use ligatures in text<br />
* 1: use ligatures for "ffl", "ffi", "ff", "fl", and "fi"<br />
</td></tr><br />
<br />
<tr valign=baseline><td>6</td><td></td><td><br />
<b>Figured harmony flag</b><br />
* 0: place figured harmony (figured bass) below the staff<br />
* 1: place figured harmony (figured bass) above the staff<br />
</td></tr><br />
<br />
<tr valign=baseline><td>7</td><td></td><td><br />
<b> mheavy4 barline style flag</b><br />
* 0: mheavy4 barline represented by two heavy lines<br />
* 1: mheavy4 barline represented by one thin, one thick, and then another thin line<br />
</td></tr><br />
<br />
<tr valign=baseline><td>8</td><td></td><td><br />
<b>Multi-voice augmentation dot option</b><br />
* 0: allow overstrike of dots in different voices<br />
* 1: do not allow overstrike<br />
</td></tr><br />
<br />
<tr valign=baseline><td>9</td><td></td><td><br />
<b>New key signatures option</b><br />
* 0: don't print a new key signature if it is the same as the previous one on the staff<br />
* 1: print a new key signature even if it repeats the previous key signature on the staff<br />
</td></tr><br />
<br />
<tr valign=baseline><td>10</td><td></td><td><br />
<b>Mixed duration chords</b><br />
* 0: don't allow a mixture of white and black notes in chords<br />
* 1: allow mixture of white and black notes in chords<br />
</td></tr><br />
<br />
<tr valign=baseline><td>11</td><td></td><td><br />
<b>Suppress key signature flag </b><br />
* 0: display key signatures<br />
* 1: suppress printing of the key signature (such as for timpani parts)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>12</td><td></td><td><br />
<b>Editorial slurs flag</b><br />
* 0: all slurs are regular<br />
* 1: <tt>{ }</tt> and <tt>z x</tt> slurs are editorial slurs (dashed slurs)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>13</td><td></td><td><br />
<b>New clef sign flag </b><br />
* 0: large clefs at start of system, cue-size clefs for clef changes<br />
* 1: always use large clefs<br />
</td></tr><br />
<br />
</table><br />
<br />
|- valign="top"<br />
| {{anchor|l_option}}<b>=l</b><#>|| Length of a page. Distance is measured dots, at 300 dots to the inch. Default is 2740 dots. The default starting height is 120 dots. This will not be lowered, but may be raised to accommodate a longer page.<br />
<br />
|- valign="top"<br />
| {{anchor|m_option}}<b>=m</b><#> || Left margin, measured in at 300 dots/inch. The default is 200 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|M_option}}<b>=M</b> || Include the contents of the MuseData source files in the trailer section of the file embedded in PostScript comments (if MuseData [[stage2]] files are used as input.<br />
<br />
|- valign="top"<br />
| {{anchor|n_option}}<b>=n</b><#> || Maximum number of systems on a page. The default is no maximum.<br />
<br />
|- valign="top"<br />
| {{anchor|p_option}}<b>=p</b> || The source is a concatenated set of page specific i-files (also called .mpg files), not a set of MuseData files.<br />
<br />
|- valign="top"<br />
| {{anchor|P_option}}<b>=P</b> || Include listings of the page specific i-files, which are the source of the output PostScript data. Each page is separated.<br />
<br />
|- valign="top"<br />
| {{anchor|Q_option}}<b>=Q</b><#> || Duration which is assigned the minimum distance.<br />
1 = whole notes<br />
... . . .<br />
8 = eighth notes<br />
16 = sixteenth notes, etc.<br />
<br />
|- valign="top"<br />
| {{anchor|s_option}}<b>=s</b>^string^ || Custom left-hand spine. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=s^[(....)][(..)](.)[({..}..)]^<br />
Each dot in the system bracketing string represents one part, with the first dot in the string representing the top staff of the system. If a grand staff is used for any part, then use the colon character (:) for that part. Staves which should be bracketed together are enclosed in square brackets: <tt>[]</tt>. Staves which should be braced together are enclosed in curly braces: <tt>{}</tt>. Staves which should be barred together (barlines connecting between staves) are enclosed in parentheses: <tt>()</tt>. The caret character (^) is used to mark the start and top of the option string. Subsequent options occur immediately after the second caret character with no intervening space.<br />
<br />
|- valign="top"<br />
| {{anchor|S_option}}<b>=S</b><#> || Add extra space between the title and the first system of music: 0 = use default, >0 = lower the first system (units are 1/300th of an inch).<br />
<br />
|- valign="top"<br />
|{{anchor|t_option}}<b>=t</b><#> || Top of page. Default is 120 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|T_option}}<b>=T</b>^string^ || Display the ''string'' as a title at the top of the (first) page. See <b>=u</b> for sub-title, and <b>=C</b> for composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|u_option}}<b>=u</b>^string^ || Display the ''string'' as a sub-title at the top of the (first) page. See <b>=T</b> for the title, and <b>=C</b> for the composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|v_option}}<b>=v</b><#,#,#...#> || Custom spacings. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=v192,192,192,208,192,208,176,176,176,200<br />
The above example setting for the =v option can be used for a system with 8 parts (such as 4 woodwinds, 2 horns, and 4 string instruments). The first seven values describe the spacing between each staff in the system, and the last value is the spacing between systems on the page. The spacing between staves and systems is constant with muse2ps. The spacing values are 1/10th of the distance between two staff lines, and the spacing value is the distance from the top of one staff to the top of the next staff (or the top of the last staff on a system to the top of the staff on the next system for the last value in the list). See the <tt>=g</tt> option for spacing the staves of a grand staff (such as for piano music). When a grand staff is part of a system with more parts, then the distance between the grand staff and the next system is the distance between the top of the bottom staff of the grand-staff pair and the top of the next staff.<br />
<br />
|- valign="top"<br />
| {{anchor|w_option}}<b>=w</b><#> || System width, measured in at 300 dots/inch. The default is 2050 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|W_option}}<b>=W</b>[#] || Thin barline flag. 0 = use regular barlines. 1 = use thin barlines. No number after <tt>=W</tt> means the same as <tt>=W0</tt>.<br />
<br />
|- valign="top"<br />
| {{anchor|x_option}}<b>=x</b> || Defeat all part inclusion suggestions in the data<br />
<br />
|- valign="top"<br />
| {{anchor|X_option}}<b>=X</b>[#] || Leave off the last barline (for short examples). 0 = print last bar, 1 = don't print last bar, <tt>=X</tt> without a number is equivalent to <tt>=X1</tt>. Note: you can add extra staff-line space in the last bar by putting in <tt>irest</tt>s, but you must put <tt>irest</tt>s in all parts, and they must all represent the same note-type (duration). Note also: If the last barline is anything but a regular measure line, it will continue to print.<br />
<br />
|- valign="top"<br />
|{{anchor|y_option}}<b>=y</b> || Defeat all line control suggestions in the data.<br />
<br />
|- valign="top"<br />
|{{anchor|Y_option}}<b>=Y</b><#> || Suppress printing first time signature in score. Used for printing small examples which have a time signature in the data, but none desired in graphical notation. You can also use a time signature in the data of "<tt>T:9/0</tt>" to generate a <i>hidden</i> time signature, and not giving a time signature at the start of a file will result in not time signature being printed. 0 = print initial time signatures (used to override options embedded in data). 1 = suppress first time signature (<tt>=Y</tt> is equivalent to <tt>=Y1</tt>).<br />
<br />
|- valign="top"<br />
| {{anchor|z_option}}<b>=z</b><#> || Music size: choices are 6,14,16,18,21. 14 is the default. This value describes the distance between staff lines in units of 300 dots per inch.<br />
<br />
|}<br />
<br />
== Multi-file input specification ==<br />
<br />
Normally individual MuseData [[stage2]] files contain a single part. These part files are concatenated together and sent via standard input into the muse2ps program. In order for the muse2ps program to be able to segment the separate part files from the original stream the marker "<tt>/eof</tt>" is added after the last line in each file, and the marker "<tt>//</tt>" is ''required'' after the end of all datafile input into muse2ps. <br />
<br />
Typically the last line of a [[stage2]] MuseData file consists of the string "<tt>/END</tt>" (in uppercase), so add the line "<tt>/eof</tt>" (in lowercase) after it: <br />
/END<br />
/eof<br />
<br />
The very last three lines of input to muse2ps should look like this:<br />
<br />
/END<br />
/eof<br />
//<br />
<br />
If you specify the =E option when running muse2ps, the "<tt>/END</tt>" markers will be used to segment the separate part files internally.<br />
<br />
The PERL script [[Media:collatemd2.pl|collatemd2]] (included with the source code to muse2ps) can be used to concatenate multiple [[stage2]] part files into a single input stream for muse2ps. The output of the PERL script can be saved to a file for later processing with muse2ps. In this case the recommended file extension for the multi-file MuseData content is <b>.md2</b> . Here are example uses of [[Media:collatemd2.pl|collatemd2]]:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
You many have to type "<tt>./collatemd2</tt>" instead of "<tt>collatemd2</tt>" if the PERL program is in the current directory and the current directory is not in the command search path. If you download the program from this page, remove the .pl extension when saving (and use a lower-case first letter for the filename). You may have to set the permissions to allow it to be run as a program with the unix command: <tt>chmod 0755 collatemd2</tt>.<br />
<br />
Alternatively, you can save the output from [[Media:collatemd2.pl|collatemd2]] into a file for later use with muse2ps:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] > [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]]<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
When downloading MuseData [[stage2]] files from http://www.musedata.org , the parts are all combined into a single multi-file MuseData file which is the equivalent to the output from [[Media:collatemd2.pl|collatemd2]].<br />
<br />
=== Multiple Music Page files ===<br />
<br />
When concatenating multiple Music Page (MPG) files, separate each file's content with a line with the single capital letter "P" on it. Example of how to do this on the command line, creating a PDF file:<br />
<br />
<source lang="bash"><br />
for i in ??<br />
do<br />
cat $i<br />
echo P<br />
done | muse2ps =p | ps2pdf - - > output.pdf<br />
</source><br />
<br />
N.B.: Probably two slashes also need to be added at the end of the last page; otherwise, it will not print:<br />
<br />
//<br />
<br />
== Color highlighting ==<br />
<br />
A soon-to-be released update of muse2ps will allow for coloring of notes in the score. This colorization can be used in conjunction with displaying search results, or highlighting notes in an example. <br />
<br />
If you place an "R" character in column 14 for note (or rest) records, That note will be highlighted red. A capital "R" will also highlight the stem of the note, while a lower case "r" will color only the notehead. If multiple colored notes all share a common beam, then that beam is also highlighted.<br />
<br />
The letter "B" can be used in column 14 to color notes blue, and the letter "G" can be used to color notes green. The lowercase versions "r" and "g" can be used to color only the noteheads and not the stems.<br />
<br />
== Embedded options ==<br />
<br />
The <i>muse2ps</i> program can read options sent in the input data stream. Options can be embedded in the input data as single-line comments. In [[stage2]] files, single-line comments start with an at-sign (<tt>@</tt>) in the first column of the line. Following the comment marker comes an option identification string "<tt>muse2psv1</tt>", with "<tt>v1</tt>" being the option version level (currently level 1, and can be used in the future to keep options backwards and forwards compatible. Default options, listed in the previous section describing the options, can be overridden by using the default option setting method which adds two equal signs in a row, followed by any options. Multiple default option <br />
comments may occur to prevent the length of the line from getting too long (it is a good idea to limit the length of the line for full backwards compatibility with dmuse and [[stage2]] files, although the current line limit in dmuse/muse2ps is 900 characters).<br />
<br />
Option for specific music sizes can be set by placing the size option between the two equals signs in the option comment. Here is an example option comment header:<br />
<br />
@muse2psv1==z18<br />
@muse2psv1==T^Bach Chorale^u^bwv-277^C^J.S. Bach (1685-1750)^<br />
@muse2psv1=z14=v200,155,155,155j<br />
@muse2psv1=z18=v240,195,195,195j<br />
@muse2psv1=z21=v300,230,230,230j<br />
<br />
The first two lines are default option settings for all music sizes. The first line sets the default music size to 18 if no size is given on the command line to muse2ps. The second line sets the title, subtitle, and composer fields on the title page. The last three lines set the vertical spacing between staves at various music sizes; the first for size 14, then size 18, and the last line for size 21.<br />
<br />
== ps2pdf options ==<br />
<br />
The default behavior of the ps2pdf program is to assume that the input data is formatted for A4 paper. The default output size for muse2ps is US letter. In order for ps2pdf to generate output pages with the correct dimensions, add the option <tt>-sPAPERSIZE=letter</tt> as an argument to the program:<br />
ps2pdf -sPAPERSIZE=letter<br />
<br />
Another pair of useful options (not needed for output from muse2ps, but useful when adding footers at later states in data program) embed the fonts used in the file:<br />
ps2pdf -sPAPERSIZE=letter -dCompatibilityLevel=1.4 -dPDFSETTINGS=/prepress<br />
<br />
For example the Symbol font is not present on the Apple iPad PDF viewer. When using the options in this example, the Symbol font (or the portion used) would be embedded in the file and therefore viewable on an iPad.<br />
<br />
== Creating images ==<br />
<br />
Graphical images can be created in various ways. A good method is to convert PostScript output from muse2ps to a bitmap image with the unix command-line program pstopnm. For smaller examples and converting to other images formtas, Imagemagick's convert is another command-line which is useful. Both pstopnm and convert are often pre-installed on linux computers, and both are available for free on the internet. They should also work with OS X, and can be used in MS Windows using [http://www.cygwin.com cygwin].<br />
<br />
To create an image pipe the output from muse2ps into pstopnm, and convert to a bitmapped image at 300 dots per inch. Next pipe the resulting image to convert for further processing. In the following example, the image is first trimmed from a full page to just the area which contains the printed music, then the image is resized to 33% of the original size for use on the web, and saved into a PNG file.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -resize '33%' [[Media:scale.png|scale.png]]<br />
<br />
=== Transparent background ===<br />
<br />
Use the options <tt>-negate -alpha copy -negate</tt> to make the background of the image transparent so that it can be displayed on any background color. Here is the example image which was just created with the above command:<br />
<br />
[[Image:scale.png]]<br />
<br />
Notice that the background color of the image is white, which becomes noticeable when placing the image on a non-white background color. Now create an image with a transparent background:<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -negate -alpha copy -negate \<br />
-resize '33%' [[Media:scale-transparent.png|scale.png]]<br />
<center><br />
<table cellspacing=0 cellpadding=3><tr bgcolor=#ffffff><td bgcolor=#4499aa><br />
[[Image:scale-transparent.png]]<br />
</td><td width=10><br />
<td bgcolor=#ffaa44>[[Image:scale-transparent.png]]<br />
</td></tr></table></center><br />
<br />
<br />
=== Images for printed publications ===<br />
<br />
To insert musical examples in a Microsoft or similar word processing program, do not resize the image, but leave it at the 300 dots per inch size of the original. Then you can rescale the image in the word processor as necessary. This will optimize the quality of the image in the final printout from the word processor.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim [[Media:scale-large.png|scale.png]]<br />
<br />
== Humdrum interface ==<br />
<br />
The muse2ps program can be used in conjunction with the [http://extra.humdrum.org/man/hum2muse hum2muse] program. Here is an example of how to create graphical music notation using the following Humdrum data as an example:<br />
<br />
<table cellspacing=0><tr bgcolor=white valign=top><td><htmlet>beethoven-kern</htmlet></td><br />
<td width=10></td><br />
<td> <br />
<pre><br />
hum2muse file.krn | muse2ps \<br />
| ps2pdf - - > file.png<br />
</pre><br />
[[Image:beethoven-kern.png]] <br />
<br><br />
<br><br />
<br><br />
</td><br />
</tr><br />
</table><br />
<br />
Images can be generated from Humdrum data online by pasting/typing data into the [http://kern.humdrum.org/cgi-bin/kern/kseditor Humdrum online editor]. For example, copy and paste the above Humdrum data into the left black box on the Humdrum online editor page, and the click on the red "Generate" button to produce an image of the graphical music using the default settings.<br />
<br />
Here is the intermediate MuseData which is passed between [http://extra.humdrum.org/man/hum2muse hum2muse] and muse2ps: [[Media:beethoven-kern.md2 | beethoven.md2]]. Try copying / pasting<br />
this data into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in the same music notation as seen above.<br />
<br />
== Zbex programs ==<br />
<br />
In the muse2ps source code directory, the sub-directory <tt>zprogs</tt> contains the [[zbex]] programs used to generate the file zfun32.c. Most necessary files needed to create [http://www.ccarh.org/software/muse2ps/muse2ps/zfun32.c zfun32.c] are in that directory, but perhaps not all of them. These programs are not used directly by muse2ps, but are compiled into zbex executable code within zfun32.c. The muse2ps is essentially a non-interactive version of [[dmuse]] (see http://dmuse.ccarh.org). The [[dmuse]] program is a text editor which also has a built-in [[zbex]] language interpreter and graphical music display capabilities. The interpreter portion of [[dmuse]] has been extracted for non-interactive use in muse2ps.<br />
<br />
== Examples == <br />
<br />
Further examples of MuseData [[stage2]] files converted into graphical music notation with muse2ps can be found on the [[MuseData examples]] page.<br />
<br />
== Feature requests and bug reports ==<br />
<br />
See the page: [[Muse2ps feature requests and bug reports]].</div>Edchttps://wiki.ccarh.org/index.php?title=Muse2ps&diff=10507Muse2ps2021-03-30T15:39:35Z<p>Edc: /* Options */</p>
<hr />
<div>__TOC__<br />
<br />
== Overview == <br />
<br />
The <b>muse2ps</b> program is a command-line version of the [[autoset]], [[mskpage]] and [[pspage]] programs which are usually run within the [[dmuse]] editor using the built-in [[zbex language]] interpreter. The ''muse2ps'' program reads MuseData [[stage2]] data or [[page file]] data from standard input and converts them into PostScript data representing graphical musical notation which is sent to standard output. The following diagram illustrates the flow of data through ''muse2ps'':<br />
<br />
<br />
<center><br />
[[File:muse2ps-dataflow.svg]]<br />
</center><br />
<br />
The ''muse2ps'' program can accept two forms of input. By default, the ''muse2ps'' program will read multi-file [[stage2]] data from standard input. MuseData [[stage2]] files contain primarily symbolic musical data with possibly a little bit of formatting information (such as system and page breaks). The ''muse2ps'' program will format this symbolic music internally into [[page files]] which give explicit information about the placement of notes, slurs, beams, dynamics, lyrics, ''etc.'' on each page of music.<br />
<br />
Alternatively, if the <tt>=p</tt> option is given as an [[argument]] to ''muse2ps'', the program can read multi-file [[page files]] directly from standard input. Typically, [[stage2]] files are converted automatically into [[pages files]] and then further processing is done on these [[page files]] in order to produce a final typeset score of the graphical music notation. For example, the [[vskpage]] is used to refine the vertical spacing of staves and systems on a page of music within [[page files]], and [[eskpage]] is used to interactively edit the position of graphical elements within [[page files]].<br />
<br />
The only output from ''muse2ps'' (besides error messages) is PostScript data which describes the graphical music notation in a printable score of the music. This data can be further processed, such as sending directly to a PostScript printer, or converting into PDF files for web distrubution of the notated music. The representation of music notation within the PostScript file is in the form of bit-mapped musical fonts. The musical fonts are designed for use with 300 DPI resolution printers when printed at the native resolution (originally these fonts were designed for [http://en.wikipedia.org/wiki/Printer_Command_Language PCL-based printers]). These fonts have the unique feature of [http://en.wikipedia.org/wiki/Dither dithered] edges on sloped beams to minimize the visual effect of pixel stepping at 300 DPI resolution. Minor notation editing can be done on the PostScript/PDF files in programs such as Adobe Illustrator. If you print via PDF files, you may want to uncheck the page-scaling option in the printing program in order to avoid aliasing artifacts in the hard copy due to changing the intended size of the music on the page. <br />
<br />
Two other forms of data can be embedded within the PostScript output. If the <tt>=M</tt> option is given as an [[argument]] to the ''muse2ps'' program, then the original [[stage2]] data will be stored within comments in the PostScript data. Likewise, if the <tt>=P</tt> option is given, the [[page file]] data will be included in the PostScript output as comments. The [[page file]] data will either come from automatic generation using [[autoset]]/[[mskpage]], or from standard input if you use the <tt>=p</tt> option.<br />
<br />
There are also numerous options which primarily deal with the formatting of [[stage2]] files with the [[autoset]] and [[mskpage]] program components. See the [[#Options| options]] section below for a complete list of the options.<br />
<br />
== Download ==<br />
<br />
The ''muse2ps'' program executables for various operating systems or the source code can be downloaded from the following table. <b>Instructions for setting up the program for use can be found ''[[Muse2ps_installation_instructions| here]]''.</b><br />
<br />
<br />
<center><br />
{{muse2psdownloadtable}}<br />
</center><br />
<br />
== Online ==<br />
<br />
The ''muse2ps'' program can be run online at http://www.musedata.org/mdconverter . If you click on [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icons next to data found on the http://www.musedata.org website, the musical data will be loaded into this online converter from which PostScript, PDF, or PNG images of the music can be generated. <br />
<br />
For example, click on the [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icon on the information page for this [http://www.musedata.org/encodings/bach/bg/chorals/0428/ Bach chorale], then click on the {{keypress|Submit}} button on the converter page to generate a PDF file of the chorale with the default settings. Then try setting some options, such as using "<tt>[(.)(.)(.)(.)]</tt>" for the <b>System spine</b> option to prevent barlines from being drawn between staves in the score.<br />
<br />
You can create your own MuseData content and print with the online converter as well. Copy and paste the following MuseData content: [[Media:beethoven-kern.md2 | beethoven.md2]] into into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in this graphical music notation:<br />
<center><br />
[[Image:beethoven-kern.png]]<br />
</center><br />
<br />
== Command-line examples ==<br />
<br />
The simplest use of ''muse2ps'' is to send it MuseData [[stage2]] files as standard input, and save standard output from the program into a PostScript file:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps > [[Media:bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
<br />
You may need to use "<tt>./muse2ps</tt>" instead of "<tt>muse2ps</tt>" in the above command if the ''muse2ps'' program file is in the current directory, but the current directory is not in your [http://en.wikipedia.org/wiki/PATH_%28variable%29 command search path]. The PostScript output can then be further processed in an external program. Usually it is more convenient to work with the data as a PDF file. The process of converting PostScript to PDF can be done by many methods. For example, Acrobat Distiller or Acrobat Professional will convert PostScript files into PDF files. There are online converters, such as this one: http://www.ps2pdf.com/convert.htm . And on most linux computers you can convert PostScript into PDF files using the [http://pages.cs.wisc.edu/~ghost/doc/gnu/5.50/Ps2pdf.htm ps2pdf] command:<br />
ps2pdf [[Media:Bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
This will create the file [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]] (replacing the .ps extension with a .pdf extention automatically when saving the PDF file). If you click on the PDF file link in the previous sentence, you should see the musical notation for J.S. Bach's Well-Tempered Clavier, Book I, Prelude 1 in C major.<br />
<br />
An alternate method of using ps2pdf to generate a PDF file in a single step in conjunction with ''muse2ps'' would be with this command-line construction:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps | ps2pdf - > [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]]<br />
<br />
=== Last system justification ===<br />
<br />
By default ''muse2ps'' does not right-justify the last system of the music on the last page of the output (as can be seen in [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]]). If you<br />
want to justify the last system, use the <tt>=j</tt> option as an argument to ''muse2ps'':<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =j | ps2pdf - > [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]<br />
The ''muse2ps'' (or more precisely, the internal [[mskpage]] component) will possibly adjust line breaks on one or more of the previous systems in the score in order to fill enough music onto the last system, and then stretch or contract the music on the last system to fit the width between margins exactly. The <tt>=j</tt> option can potentially take significantly more time to process the input data than when it is omitted. The reason for the increased processing time can be seen by comparing [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]] and [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]. In order to right-justify the last system of the music, all systems in the music were recursively re-typeset so that the first system in the music contains only three measures instead of four.<br />
<br />
=== Grand-Staff vertical spacing ===<br />
<br />
The distance between staves in the grand staff (which is used for instruments such as the piano) can be controlled by the =g option. An integer number follows after the letter "g" in the option which specifies the distance between the two staves in terms of 1/10ths of the distance between staff lines. The default value for this option is =g100 which means that the distance between the top line of each staff is 10 staff lines.<br />
<br />
Here is an example of reducing the spacing between the staves to nothing. The =g50 option in this case means that the distance between the top of each staff is 5 staff lines. And since this is the height of a single staff, there will be no space between the two staves:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =g50 | ps2pdf - > [[Media:bach-wtc1p01-g50.pdf|bach-wtc1p01-g50.pdf]]<br />
<br />
<br />
=== Single-staff spacing in a system ===<br />
<br />
A ''system'' is a collection of staves which represent different instruments playing at the same time. The distance between these staves can be controlled with the =v option. Following =v is a list of comma-separated integers (with no intervening spaces). The unit for these numbers is the same as in the =g option: 1/10th of the distance between successive staff lines.<br />
<br />
The default spacing between staves will depend on whether they are supposed to be barred together or not. Here is the default spacing for four staves of a string quartet:<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
=== Using multiple options ===<br />
<br />
In the previous examples, the prelude is printed on two pages, with a single orphan system occurring on the second page. One way to force the music to fit onto a single page is to set the top margin from 120 pixels to 0 pixels with the option <tt>=t0</tt> and the printable length on the page to 3000 pixels (10 inches) with the option <tt>=l3000</tt>. When supplying multiple optional settings to muse2ps, there is only one option string which starts with the equals character (<tt>=</tt>) and is followed by all options with no spaces. Here is an example of using the <tt>=t0</tt>, <tt>=l3000</tt> and <tt>=j</tt> options at the same time, resulting in a single page of music:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =jt0l3000 | ps2pdf - > [[Media:bach-wtc1p01-jt0l3000.pdf|bach-wtc1p01-jt0l3000.pdf]]<br />
The order of the options in the option string is not important, so for example, "<tt>=l3000t0j</tt>" would yield the same results as "<tt>=jt0l3000</tt>".<br />
<br />
Instead of adjusting the vertical margins with the <tt>=t</tt> and <tt>=l</tt> options, you can also decrease the spacing between staves globally on the system. To do this, use the =v option followed by a list of distances between each staff on the system. In this example there are two staves in each system, so one value is expected after "=v". If there were three or more staves, then the vertical spacing values are separated by commas (and no spaces).<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =v160jt300 | ps2pdf - > [[Media:bach-wtc1p01-v160jt300.pdf|bach-wtc1p01-v160jt300.pdf]]<br />
<br />
In the above example, "<tt>=v160</tt>" means make the spacing between staves on the system slightly more than 1/2 an inch; "<tt>=j</tt>" means to right-justify the last system of music; and "<tt>t300</tt>" means add an extra inch to the top margin (the default setting is "<tt>=t120</tt>".<br />
<br />
=== Music size ===<br />
<br />
The ''muse2ps'' program can typeset music in several sizes: 6, 14, 16, 18 and 21. These numbers refer to the pixel count (at 300 DPI) between successive staff lines. For example, here is a zoom-in of music typeset using the size 6 font, where each staff line is one pixel wide, and there are 5 pixels in the gap between lines, making each staff line spaced every 6 pixels and hence the name "size 6":<br />
<br />
<center><br />
[[File:Dmuse-size6.png|411px]]<br />
</center><br />
<br />
<br />
The default size that ''muse2ps'' will typeset music in is size 14. To display the music at other sizes, use the <tt>=z</tt> option followed by the size. Here is the example prelude printed in all sizes (with right-justification of the last system using <tt>=j</tt> also added to the option string):<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z6j&nbsp;&nbsp;| ps2pdf - > [[Media:bach-wtc1p01-z6j.pdf|bach-wtc1p01-z6j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z14j | ps2pdf - > [[Media:bach-wtc1p01-z14j.pdf|bach-wtc1p01-z14j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z16j | ps2pdf - > [[Media:bach-wtc1p01-z16j.pdf|bach-wtc1p01-z16j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z18j | ps2pdf - > [[Media:bach-wtc1p01-z18j.pdf|bach-wtc1p01-z18j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z21j | ps2pdf - > [[Media:bach-wtc1p01-z21j.pdf|bach-wtc1p01-z21j.pdf]]<br />
<br />
Full-scores are typically printed at size 14 (particularly scores with many parts). Parts for performers are typically printed at sizes 18 or 21. Piano music is typically printed at size 16, and Size 18 has dither on two-pixel wide staff lines. The approximate equivalents to point sizes in regular text (multiplying by the factor 72/300 and then multiplying by 3):<br />
<br />
<center><br />
{| class="wikitable" cellpadding="0" cellspacing="0" border="0"<br />
|- |- {{Style|table header}}<br />
! scope="col" align="left" | MuseData music size<br />
! scope="col" align="left" | Staff height (mm)<br />
! score="col" align="left" | Approximate text font size<br />
! score="col" align="left" | Musical application<br />
|-<br />
| 6 || 2.03 mm || 4 pt || none<br />
|-<br />
| 14 || 4.74 mm || 10 pt || full scores<br />
|-<br />
| 16 || 5.42 mm || 11.5 pt || piano music, vocal scores<br />
|-<br />
| 18 || 6.10 mm || 13 pt || instrumental parts<br />
|-<br />
| 21 || 7.11 mm || 15 pt || large-size instrumental parts<br />
|}<br />
</center><br />
<br />
=== Extracting MPG intermediate data ===<br />
<br />
When a MuseData [[stage2]] file is converted into graphical music notation as PostScript output from ''muse2ps'', it will pass through two data transformation steps. The first step is a conversion from [[stage2]] data into non-page-specific [[i-files]] which is accomplished with the [[autoset]] component. Then these "non-page-specific" [[i-files]] are converted into "page-specific" [[page files|i-files]] (or Music Page (MPG) files) which describe the precise position of musical elements on each page of typeset music. This [[music page]] data can be extracted from the program surreptitiously by using the "=P" option. This will cause the [[MPG]] data to be embedded in comments within the PostScript output. Each page of MPG data will be stored in a sequence of comments starting with "<tt>%=BeginMPGData: 1</tt>", where <tt>1</tt> is the data for page one. And each page of MPG data is ended by the comment <tt>"%=EndMPGData: 1"</tt>.<br />
<br />
All MuseData/dmuse related comments in the PostScript output start with the comment marker "%=", so the MPG data can easily be separated from the PostScript content and other irrelevant comments in a manner such as this:<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =P | grep "^%=" > [[Media:Mpg-comments.txt|mpg-comments.txt]]<br />
The [[regular expression]] search string "<tt>^%=</tt>" used in the [http://en.wikipedia.org/wiki/Grep grep] command means extract lines from the input which start with the two characters "<tt>%=</tt>".<br />
<br />
A PERL utility program, called [[Media:unpackmpg.pl|unpackmpg]], for extracting the MPG data from the comments is included with the source code for ''muse2ps'':<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =Pg85jt200l3000 | [[Media:unpackmpg.pl|unpackmpg]] > [[Media:Mpg-comments.mpg|mpg-comments.mpg]]<br />
In the above command the options mean:<br />
* <tt>=P</tt>: Output [[music page]] data.<br />
* <tt>=g85</tt>: Set the distance between the staves in the grand staff to 8.5 staff lines (default is 100, or 10 staff lines).<br />
* <tt>=j</tt>: Right-justify the last system of the music.<br />
* <tt>=t200</tt>: Set the top margin to 2/3 of a inch below the base position.<br />
* <tt>=l3000</tt>: Set the vertical printable region to 10 inches.<br />
<br />
=== Inputting MPG data (adding a title) ===<br />
<br />
The extracted [[music page]] data from the previous section can be edited (such as to add a title) and then can be reprocessed by ''muse2ps'' to generate PostScript output:<br />
cat [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] | muse2ps =p | ps2pdf - > [[Media:Bach-wtc1p01-title.pdf|bach-wtc1p01-title.pdf]]<br />
<br />
In this case the file [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] is the equivalent to the MPG data generated by ''muse2ps'' in the previous section: [[Media:Mpg-comments.mpg|mpg-comments.mpg]], but with these three lines added to generate a title for the first page:<br />
<br />
<pre><br />
X 14<br />
X 46 1200C 0 Well-Tempered Clavier, Book I, Prelude 1 in C major<br />
X 37 1200C 50 BWV 846<br />
</pre><br />
<br />
The first line sets the font indexes relative to music size 14. The second line places the line at "1200C 0" which means center the line horizontally at location 1200 (4 inches from the left margin), and position the line vertically at position 0 (0 inches below the top margin).<br />
<br />
[[Music page]] data for many of the score on http://www.musedata.org are available as both [[stage2]] files and [[music page]] files. Using the [[music page]] files as input to ''muse2ps'' will generate better graphical notation results, since the automatically typeset data from the [[stage2]] files has been proofread and adjusted by a human.<br />
<br />
== Options ==<br />
<br />
Below is a list of the options which muse2ps understands. Options are given<br />
as the first (and only) argument to the program, starting with an equals sign (=), then followed by the options in any order, with no spaces between the options. For example, to set the music size to 18 and right-justify the last system on the last page, use the option string =z21j:<br />
cat file.md2 | muse2ps =z21j > file.ps<br />
When using characters which may be parsed by the command-line interpreter, you will have to enclose the option string in single quotes (you can do this all of the time if you are uncertain of the conditions in which they would be required):<br />
cat file.md2 | muse2ps '=z21js^{(..}}^T^title^' | ps2pdf - > file.pdf<br />
<br />
In option strings such as "=c<#>", replace <#> with an integer. <tt>[#]</tt> indicates an optional number.<br />
<br />
{|class="wikitable" cellpadding="0" cellspacing="0" border="0" style="width:100%"<br />
|- {{Style|table header}}<br />
! scope="col" width="100px" align="center"| muse2ps option index<br />
|-<br />
| <div style="column-count:3;-moz-column-count:3;-webkit-column-count:3"><br />
* {{nowrap|{{mopt|c}} compression}}<br />
* {{nowrap|{{mopt|C}} composer}}<br />
* {{nowrap|{{mopt|d}} diagnostics}}<br />
* {{nowrap|{{mopt|D}} dash spacing}}<br />
* {{nowrap|{{mopt|E}} eof insertion}}<br />
* {{nowrap|{{mopt|f}} fill by staff}}<br />
* {{nowrap|{{mopt|F}} fill by system}}<br />
* {{nowrap|{{mopt|g}} grand staff spacing}}<br />
* {{nowrap|{{mopt|G}} group selection}}<br />
* {{nowrap|{{mopt|h}} note space}}<br />
* {{nowrap|{{mopt|i}} indentation flag}}<br />
* {{nowrap|{{mopt|I}} indentation amount}}<br />
* {{nowrap|{{mopt|j}} justification}}<br />
* {{nowrap|{{mopt|k}} display options}}<br />
* {{nowrap|{{mopt|l}} page length}}<br />
* {{nowrap|{{mopt|m}} left margin}}<br />
* {{nowrap|{{mopt|M}} embed stage2 data}}<br />
* {{nowrap|{{mopt|n}} number of systems}}<br />
* {{nowrap|{{mopt|p}} page files input}}<br />
* {{nowrap|{{mopt|P}} embed page files}}<br />
* {{nowrap|{{mopt|Q}} minimum distance duration}}<br />
* {{nowrap|{{mopt|s}} system spine}}<br />
* {{nowrap|{{mopt|S}} title/system space}}<br />
* {{nowrap|{{mopt|t}} top margin}}<br />
* {{nowrap|{{mopt|T}} title}}<br />
* {{nowrap|{{mopt|u}} subtitle}}<br />
* {{nowrap|{{mopt|v}} staff spacing}}<br />
* {{nowrap|{{mopt|w}} system width}}<br />
* {{nowrap|{{mopt|W}} thin barlines}}<br />
* {{nowrap|{{mopt|x}} no suggestions}}<br />
* {{nowrap|{{mopt|X}} no last barline}}<br />
* {{nowrap|{{mopt|y}} no line controls}}<br />
* {{nowrap|{{mopt|Y}} no initial time signature}}<br />
* {{nowrap|{{mopt|z}} music size}}<br />
</div><br />
|}<br />
<br><br />
<br />
See also the Dmuse text file [[Media:muse2ps-options.dm | options.dm]], or the HTML equivalent [[Media:muse2ps-options.html| options.html]] for a brief description of each option.<br />
<br />
{| style="background-color:white" cellpadding="4"<br />
|- valign="top"<br />
| {{anchor|c_option}}<b>=c</b><#>|| Compression factor: This is measured as a percentage of the default. 100 = no compression (100%). Use smaller values to decrease the spacing between notes (allowing fewer pages in the score). Values larger than 100 will expand the distance between notes (increasing the number of pages in the score). This option is useful to force the last system of music to occur at the bottom of a page.<br />
<br />
|- valign="top"<br />
|{{anchor|C_option}}<b>=C</b>^string^ || Display the ''string'' as the composer's name at the top right side of the first page. See <b>=T</b> for the title, and <b>=u</b> for the sub-title. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|d_option}}<b>=d</b><#> || Diagnostics and Error Messages.<br />
bit 0 of #: ON = print error messages<br />
bit 1 of #: ON = print all diagnostics<br />
bit 2 of #: ON = print diagnostics from autoset<br />
bit 3 of #: ON = print diagnostics from mskpage<br />
bit 4 of #: ON = print diagnostics from pspage<br />
no number = 0x01: print error messages<br />
For example, =d31 turns on all error message toggles. This option is useful if the output PostScript data from muse2ps is empty. The messages go to standard error, while the PostScript data goes to standard output. Therefore, you can print the error messages and still save or pipe the PostScript data without the error messages mixing with the output data.<br />
<br />
|- valign="top"<br />
| {{anchor|D_option}}<b>=D</b> || Spacing between dashes. Will override spacing in stage2 files: 0 = use default, >0 = space between dashes (units are dash-length).<br />
<br />
|- valign="top"<br />
| {{anchor|E_option}}<b>=E</b> || <tt>/END</tt> = <tt>/eof</tt>. The muse2ps program allows for multiple parts to be entered from standard input in a single stream of data. Normally the data files representing each part are separated from each other by a line containing only "<tt>/eof</tt>" (lowercase; meaning "End of File"). Separate MuseData [[stage2]] files do not typically end in "<tt>/eof</tt>", but rather, they are required to contain the line "<tt>/END</tt>" (uppercase) to indicate the end of the data. After "<tt>/END</tt>", any textual comments are allowed. With the =E option, you do not need to separate files by "<tt>/eof</tt>", and instead, the next file in the sequence will start on the line coming after "<tt>/END</tt>". Note, however, that you cannot use the =E option if there is any commentary after "<tt>/END</tt>" in a file.<br />
<br />
|- valign="top"<br />
| {{anchor|f_option}}<b>=f</b> || Fill pages to the bottom by proportionally stretching all spacings. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|F_option}}<b>=F</b> || Fill pages to the bottom by adding to the intersystem space only. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|g_option}}<b>=g</b><#>|| Grand staff intra-space measured in multiples of ledger lines times 10. The default is 100, which is 10 ledger lines. Note that this distance reference is different from the =v values which define the distance from the top of one staff to the top of the next staff. For the =g, option, the distance is from the bottom of the top staff to the top of the bottom staff.<br />
<br />
|- valign="top"<br />
| {{anchor|G_option}}<b>=G</b>^group-name^ || Group name to process. The default is "score". Available groups are found on data line 11 at the top of each MuseData [[stage2]] file (excluding any single- or multi-line comments). Other possibilities might be "part" or "data".<br />
<br />
|- valign="top"<br />
| {{anchor|h_option}}<b>=h</b><#> || Alter the minimum allowed space between notes. This is measured as a percentage of the default. 100 = no change (100%).<br />
<br />
|- valign="top"<br />
|{{anchor|i_option}}<b>=i</b><#> || Initial system indentation options flag.<br />
* 0 = use program defaults (set indentation with <tt>=I</tt> option)<br />
* 1 = no indentation of first system of music<br />
* 2 = indent first system, and after every forced system break<br />
<br />
|- valign="top"<br />
| {{anchor|I_option}}<b>=I</b><#> || Specify the indentation amount for the first system in the music. If zero, then default indentation amount will be used. (see the <tt>=i</tt> option for turning off indentation).<br />
<br />
|- valign="top"<br />
|{{anchor|j_option}}<b>=j</b> || Right-justify the last system of the music so that it extends all of the way across the page. The default is NOT to right justify. Right-justification is a recursive process where measures from previous systems may be moved ahead in the score to cause all systems to have approximately the same note density.<br />
<br />
|- valign="top"<br />
| {{anchor|k_option}}<b>=k</b>^0x<tt>#</tt>^ || Display alternative options. Options are stored in a hexadecimal number prefixed with the string "<tt>0x</tt>" (C program-styled hex number). The default values are the 0 bit settings. The meaning of the bits in the hexadecimal number are (from least significant to most significant bit):<br />
<br />
<table cellpadding=0 cellspacing=0><br />
<tr valign=baseline><th>bit</th><td width=10></td><th>meaning</th></tr><br />
<br />
<tr valign=baseline><td>0</td><td></td><td><br />
<b>k-option activation flag</b><br />
* 1: <i>k</i> option is active; read options in more significant bits<br />
* 0: <i>k</i> option is inactive; used to turn off this option as a command-line override<br />
</td></tr><br />
<br />
<tr valign=baseline><td>1</td><td></td><td><br />
<b>Sforzando/rfz flag</b><br />
* 0: display sforzando as sf (rf)<br />
* 1: display sforzando as sfz (rfz)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>2</td><td></td><td><br />
<b>Sub-edit flag</b><br />
* 0: display editorial markup differently from regular data (such as adding brackets around editorial elements)<br />
* 1: do not display editorial data differently from regular data<br />
</td></tr><br />
<br />
<tr valign=baseline><td>3</td><td></td><td><br />
<b>No-editorial flag</b><br />
* 0: display editorial markup data<br />
* 1: do not display editorial markup data<br />
</td></tr><br />
<br />
<tr valign=baseline><td>4</td><td></td><td><br />
<b> Editorial markup in Roman font flag</b><br />
* 0: use cue-size music fonts for editorial marks<br />
* 1: use Times-Roan font for editorial marks: tr, dynamics<br />
</td></tr><br />
<br />
<tr valign=baseline><td>5</td><td></td><td><br />
<b>Ligature flag</b><br />
* 0: do not use ligatures in text<br />
* 1: use ligatures for "ffl", "ffi", "ff", "fl", and "fi"<br />
</td></tr><br />
<br />
<tr valign=baseline><td>6</td><td></td><td><br />
<b>Figured harmony flag</b><br />
* 0: place figured harmony (figured bass) below the staff<br />
* 1: place figured harmony (figured bass) above the staff<br />
</td></tr><br />
<br />
<tr valign=baseline><td>7</td><td></td><td><br />
<b> mheavy4 barline style flag</b><br />
* 0: mheavy4 barline represented by two heavy lines<br />
* 1: mheavy4 barline represented by one thin, one thick, and then another thin line<br />
</td></tr><br />
<br />
<tr valign=baseline><td>8</td><td></td><td><br />
<b>Multi-voice augmentation dot option</b><br />
* 0: allow overstrike of dots in different voices<br />
* 1: do not allow overstrike<br />
</td></tr><br />
<br />
<tr valign=baseline><td>9</td><td></td><td><br />
<b>New key signatures option</b><br />
* 0: don't print a new key signature if it is the same as the previous one on the staff<br />
* 1: print a new key signature even if it repeats the previous key signature on the staff<br />
</td></tr><br />
<br />
<tr valign=baseline><td>10</td><td></td><td><br />
<b>Mixed duration chords</b><br />
* 0: don't allow a mixture of white and black notes in chords<br />
* 1: allow mixture of white and black notes in chords<br />
</td></tr><br />
<br />
<tr valign=baseline><td>11</td><td></td><td><br />
<b>Suppress key signature flag </b><br />
* 0: display key signatures<br />
* 1: suppress printing of the key signature (such as for timpani parts)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>12</td><td></td><td><br />
<b>Editorial slurs flag</b><br />
* 0: all slurs are regular<br />
* 1: <tt>{ }</tt> and <tt>z x</tt> slurs are editorial slurs (dashed slurs)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>13</td><td></td><td><br />
<b>New clef sign flag </b><br />
* 0: large clefs at start of system, cue-size clefs for clef changes<br />
* 1: always use large clefs<br />
</td></tr><br />
<br />
</table><br />
<br />
|- valign="top"<br />
| {{anchor|l_option}}<b>=l</b><#>|| Length of a page. Distance is measured dots, at 300 dots to the inch. Default is 2740 dots. The default starting height is 120 dots. This will not be lowered, but may be raised to accommodate a longer page.<br />
<br />
|- valign="top"<br />
| {{anchor|m_option}}<b>=m</b><#> || Left margin, measured in at 300 dots/inch. The default is 200 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|M_option}}<b>=M</b> || Include the contents of the MuseData source files in the trailer section of the file embedded in PostScript comments (if MuseData [[stage2]] files are used as input.<br />
<br />
|- valign="top"<br />
| {{anchor|n_option}}<b>=n</b><#> || Maximum number of systems on a page. The default is no maximum.<br />
<br />
|- valign="top"<br />
| {{anchor|p_option}}<b>=p</b> || The source is a concatenated set of page specific i-files (also called .mpg files), not a set of MuseData files.<br />
<br />
|- valign="top"<br />
| {{anchor|P_option}}<b>=P</b> || Include listings of the page specific i-files, which are the source of the output PostScript data. Each page is separated.<br />
<br />
|- valign="top"<br />
| {{anchor|Q_option}}<b>=Q</b><#> || Duration which is assigned the minimum distance.<br />
1 = whole notes<br />
... . . .<br />
8 = eighth notes<br />
16 = sixteenth notes, etc.<br />
<br />
|- valign="top"<br />
| {{anchor|s_option}}<b>=s</b>^string^ || Custom left-hand spine. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=s^[(....)][(..)](.)[({..}..)]^<br />
Each dot in the system bracketing string represents one part, with the first dot in the string representing the top staff of the system. If a grand staff is used for any part, then use the colon character (:) for that part. Staves which should be bracketed together are enclosed in square brackets: <tt>[]</tt>. Staves which should be braced together are enclosed in curly braces: <tt>{}</tt>. Staves which should be barred together (barlines connecting between staves) are enclosed in parentheses: <tt>()</tt>. The caret character (^) is used to mark the start and top of the option string. Subsequent options occur immediately after the second caret character with no intervening space.<br />
<br />
|- valign="top"<br />
| {{anchor|S_option}}<b>=S</b><#> || Add extra space between the title and the first system of music: 0 = use default, >0 = lower the first system (units are 1/300th of an inch).<br />
<br />
|- valign="top"<br />
|{{anchor|t_option}}<b>=t</b><#> || Top of page. Default is 120 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|T_option}}<b>=T</b>^string^ || Display the ''string'' as a title at the top of the (first) page. See <b>=u</b> for sub-title, and <b>=C</b> for composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|u_option}}<b>=u</b>^string^ || Display the ''string'' as a sub-title at the top of the (first) page. See <b>=T</b> for the title, and <b>=C</b> for the composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|v_option}}<b>=v</b><#,#,#...#> || Custom spacings. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=v192,192,192,208,192,208,176,176,176,200<br />
The above example setting for the =v option can be used for a system with 8 parts (such as 4 woodwinds, 2 horns, and 4 string instruments). The first seven values describe the spacing between each staff in the system, and the last value is the spacing between systems on the page. The spacing between staves and systems is constant with muse2ps. The spacing values are 1/10th of the distance between two staff lines, and the spacing value is the distance from the top of one staff to the top of the next staff (or the top of the last staff on a system to the top of the staff on the next system for the last value in the list). See the <tt>=g</tt> option for spacing the staves of a grand staff (such as for piano music). When a grand staff is part of a system with more parts, then the distance between the grand staff and the next system is the distance between the top of the bottom staff of the grand-staff pair and the top of the next staff.<br />
<br />
|- valign="top"<br />
| {{anchor|w_option}}<b>=w</b><#> || System width, measured in at 300 dots/inch. The default is 2050 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|W_option}}<b>=W</b>[#] || Thin barline flag. 0 = use regular barlines. 1 = use thin barlines. No number after <tt>=W</tt> means the same as <tt>=W0</tt>.<br />
<br />
|- valign="top"<br />
| {{anchor|x_option}}<b>=x</b> || Defeat all part inclusion suggestions in the data<br />
<br />
|- valign="top"<br />
| {{anchor|X_option}}<b>=X</b>[#] || Leave off the last barline (for short examples). 0 = print last bar, 1 = don't print last bar, <tt>=X</tt> without a number is equivalent to <tt>=X1</tt>. Note: you can add extra staff-line space in the last bar by putting in <tt>irest</tt>s, but you must put <tt>irest</tt>s in all parts, and they must all represent the same note-type (duration). Note also: If the last barline is anything but a regular measure line, it will continue to print.<br />
<br />
|- valign="top"<br />
|{{anchor|y_option}}<b>=y</b> || Defeat all line control suggestions in the data.<br />
<br />
|- valign="top"<br />
|{{anchor|Y_option}}<b>=Y</b><#> || Suppress printing first time signature in score. Used for printing small examples which have a time signature in the data, but none desired in graphical notation. You can also use a time signature in the data of "<tt>T:9/0</tt>" to generate a <i>hidden</i> time signature, and not giving a time signature at the start of a file will result in not time signature being printed. 0 = print initial time signatures (used to override options embedded in data). 1 = suppress first time signature (<tt>=Y</tt> is equivalent to <tt>=Y1</tt>).<br />
<br />
|- valign="top"<br />
| {{anchor|z_option}}<b>=z</b><#> || Music size: choices are 6,14,16,18,21. 14 is the default. This value describes the distance between staff lines in units of 300 dots per inch.<br />
<br />
|}<br />
<br />
== Multi-file input specification ==<br />
<br />
Normally individual MuseData [[stage2]] files contain a single part. These part files are concatenated together and sent via standard input into the muse2ps program. In order for the muse2ps program to be able to segment the separate part files from the original stream the marked "<tt>/eof</tt>" is added after the last line in each file, and the marker "<tt>//</tt>" is ''required'' after the end of all datafile input into muse2ps. <br />
<br />
Typically the last line of a [[stage2]] MuseData file consists of the string "<tt>/END</tt>" (in uppercase), so add the line "<tt>/eof</tt>" (in lowercase) after it: <br />
/END<br />
/eof<br />
<br />
The very last three lines of input to muse2ps should should look like this:<br />
<br />
/END<br />
/eof<br />
//<br />
<br />
If you specify the =E option when running muse2ps, the "<tt>/END</tt>" markers will be used to segment the separate part files internally.<br />
<br />
The PERL script [[Media:collatemd2.pl|collatemd2]] (included with the source code to muse2ps) can be used to concatenate multiple [[stage2]] part files into a single input stream for muse2ps. The output of the PERL script can be saved to a file for later processing with muse2ps. In this case the recommended file extension for the multi-file MuseData content is <b>.md2</b> . Here are example uses of [[Media:collatemd2.pl|collatemd2]]:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
You many have to type "<tt>./collatemd2</tt>" instead of "<tt>collatemd2</tt>" if the perl program is in the current directory and the current directory is not in the command search path. If you download the program from this page, remove the .pl extension when saving (and use a lower-case first letter for the filename). You may have to set the permissions to allow it to be run as a program with the unix command: <tt>chmod 0755 collatemd2</tt>.<br />
<br />
Alternatively, you can save the output from [[Media:collatemd2.pl|collatemd2]] into a file for later use with muse2ps:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] > [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]]<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
When downloading MuseData [[stage2]] files from http://www.musedata.org , the parts are all combined into a single multi-file MuseData file which is the equivalent to the output from [[Media:collatemd2.pl|collatemd2]].<br />
<br />
=== Multiple Music Page files ===<br />
<br />
When concatenating multiple Music Page (MPG) files, separate each file's content with a line with the single capital letter "P" on it. Example of how to do this on the command line, creating a PDF file:<br />
<br />
<source lang="bash"><br />
for i in ??<br />
do<br />
cat $i<br />
echo P<br />
done | muse2ps =p | ps2pdf - - > output.pdf<br />
</source><br />
<br />
N.B.: Probably two slashes also need to be added at the end of the last page; otherwise, it will not print:<br />
<br />
//<br />
<br />
== Color highlighting ==<br />
<br />
A soon-to-be released update of muse2ps will allow for coloring of notes in the score. This colorization can be used in conjunction with displaying search results, or highlighting notes in an example. <br />
<br />
If you place an "R" character in column 14 for note (or rest) records, That note will be highlighted red. A capital "R" will also highlight the stem of the note, while a lower case "r" will color only the notehead. If multiple colored notes all share a common beam, then that beam is also highlighted.<br />
<br />
The letter "B" can be used in column 14 to color notes blue, and the letter "G" can be used to color notes green. The lowercase versions "r" and "g" can be used to color only the noteheads and not the stems.<br />
<br />
== Embedded options ==<br />
<br />
The <i>muse2ps</i> program can read options sent in the input data stream. Options can be embedded in the input data as single-line comments. In [[stage2]] files, single-line comments start with an at-sign (<tt>@</tt>) in the first column of the line. Following the comment marker comes an option identification string "<tt>muse2psv1</tt>", with "<tt>v1</tt>" being the option version level (currently level 1, and can be used in the future to keep options backwards and forwards compatible. Default options, listed in the previous section describing the options, can be overridden by using the default option setting method which adds two equal signs in a row, followed by any options. Multiple default option <br />
comments may occur to prevent the length of the line from getting too long (it is a good idea to limit the length of the line for full backwards compatibility with dmuse and [[stage2]] files, although the current line limit in dmuse/muse2ps is 900 characters).<br />
<br />
Option for specific music sizes can be set by placing the size option between the two equals signs in the option comment. Here is an example option comment header:<br />
<br />
@muse2psv1==z18<br />
@muse2psv1==T^Bach Chorale^u^bwv-277^C^J.S. Bach (1685-1750)^<br />
@muse2psv1=z14=v200,155,155,155j<br />
@muse2psv1=z18=v240,195,195,195j<br />
@muse2psv1=z21=v300,230,230,230j<br />
<br />
The first two lines are default option settings for all music sizes. The first line sets the default music size to 18 if no size is given on the command line to muse2ps. The second line sets the title, subtitle, and composer fields on the title page. The last three lines set the vertical spacing between staves at various music sizes; the first for size 14, then size 18, and the last line for size 21.<br />
<br />
== ps2pdf options ==<br />
<br />
The default behavior of the ps2pdf program is to assume that the input data is formatted for A4 paper. The default output size for muse2ps is US letter. In order for ps2pdf to generate output pages with the correct dimensions, add the option <tt>-sPAPERSIZE=letter</tt> as an argument to the program:<br />
ps2pdf -sPAPERSIZE=letter<br />
<br />
Another pair of useful options (not needed for output from muse2ps, but useful when adding footers at later states in data program) embed the fonts used in the file:<br />
ps2pdf -sPAPERSIZE=letter -dCompatibilityLevel=1.4 -dPDFSETTINGS=/prepress<br />
<br />
For example the Symbol font is not present on the Apple iPad PDF viewer. When using the options in this example, the Symbol font (or the portion used) would be embedded in the file and therefore viewable on an iPad.<br />
<br />
== Creating images ==<br />
<br />
Graphical images can be created in various ways. A good method is to convert PostScript output from muse2ps to a bitmap image with the unix command-line program pstopnm. For smaller examples and converting to other images formtas, Imagemagick's convert is another command-line which is useful. Both pstopnm and convert are often pre-installed on linux computers, and both are available for free on the internet. They should also work with OS X, and can be used in MS Windows using [http://www.cygwin.com cygwin].<br />
<br />
To create an image pipe the output from muse2ps into pstopnm, and convert to a bitmapped image at 300 dots per inch. Next pipe the resulting image to convert for further processing. In the following example, the image is first trimmed from a full page to just the area which contains the printed music, then the image is resized to 33% of the original size for use on the web, and saved into a PNG file.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -resize '33%' [[Media:scale.png|scale.png]]<br />
<br />
=== Transparent background ===<br />
<br />
Use the options <tt>-negate -alpha copy -negate</tt> to make the background of the image transparent so that it can be displayed on any background color. Here is the example image which was just created with the above command:<br />
<br />
[[Image:scale.png]]<br />
<br />
Notice that the background color of the image is white, which becomes noticeable when placing the image on a non-white background color. Now create an image with a transparent background:<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -negate -alpha copy -negate \<br />
-resize '33%' [[Media:scale-transparent.png|scale.png]]<br />
<center><br />
<table cellspacing=0 cellpadding=3><tr bgcolor=#ffffff><td bgcolor=#4499aa><br />
[[Image:scale-transparent.png]]<br />
</td><td width=10><br />
<td bgcolor=#ffaa44>[[Image:scale-transparent.png]]<br />
</td></tr></table></center><br />
<br />
<br />
=== Images for printed publications ===<br />
<br />
To insert musical examples in a Microsoft or similar word processing program, do not resize the image, but leave it at the 300 dots per inch size of the original. Then you can rescale the image in the word processor as necessary. This will optimize the quality of the image in the final printout from the word processor.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim [[Media:scale-large.png|scale.png]]<br />
<br />
== Humdrum interface ==<br />
<br />
The muse2ps program can be used in conjunction with the [http://extra.humdrum.org/man/hum2muse hum2muse] program. Here is an example of how to create graphical music notation using the following Humdrum data as an example:<br />
<br />
<table cellspacing=0><tr bgcolor=white valign=top><td><htmlet>beethoven-kern</htmlet></td><br />
<td width=10></td><br />
<td> <br />
<pre><br />
hum2muse file.krn | muse2ps \<br />
| ps2pdf - - > file.png<br />
</pre><br />
[[Image:beethoven-kern.png]] <br />
<br><br />
<br><br />
<br><br />
</td><br />
</tr><br />
</table><br />
<br />
Images can be generated from Humdrum data online by pasting/typing data into the [http://kern.humdrum.org/cgi-bin/kern/kseditor Humdrum online editor]. For example, copy and paste the above Humdrum data into the left black box on the Humdrum online editor page, and the click on the red "Generate" button to produce an image of the graphical music using the default settings.<br />
<br />
Here is the intermediate MuseData which is passed between [http://extra.humdrum.org/man/hum2muse hum2muse] and muse2ps: [[Media:beethoven-kern.md2 | beethoven.md2]]. Try copying / pasting<br />
this data into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in the same music notation as seen above.<br />
<br />
== Zbex programs ==<br />
<br />
In the muse2ps source code directory, the sub-directory <tt>zprogs</tt> contains the [[zbex]] programs used to generate the file zfun32.c. Most necessary files needed to create [http://www.ccarh.org/software/muse2ps/muse2ps/zfun32.c zfun32.c] are in that directory, but perhaps not all of them. These programs are not used directly by muse2ps, but are compiled into zbex executable code within zfun32.c. The muse2ps is essentially a non-interactive version of [[dmuse]] (see http://dmuse.ccarh.org). The [[dmuse]] program is a text editor which also has a built-in [[zbex]] language interpreter and graphical music display capabilities. The interpreter portion of [[dmuse]] has been extracted for non-interactive use in muse2ps.<br />
<br />
== Examples == <br />
<br />
Further examples of MuseData [[stage2]] files converted into graphical music notation with muse2ps can be found on the [[MuseData examples]] page.<br />
<br />
== Feature requests and bug reports ==<br />
<br />
See the page: [[Muse2ps feature requests and bug reports]].</div>Edchttps://wiki.ccarh.org/index.php?title=Muse2ps&diff=10506Muse2ps2021-03-30T15:29:59Z<p>Edc: /* Options */</p>
<hr />
<div>__TOC__<br />
<br />
== Overview == <br />
<br />
The <b>muse2ps</b> program is a command-line version of the [[autoset]], [[mskpage]] and [[pspage]] programs which are usually run within the [[dmuse]] editor using the built-in [[zbex language]] interpreter. The ''muse2ps'' program reads MuseData [[stage2]] data or [[page file]] data from standard input and converts them into PostScript data representing graphical musical notation which is sent to standard output. The following diagram illustrates the flow of data through ''muse2ps'':<br />
<br />
<br />
<center><br />
[[File:muse2ps-dataflow.svg]]<br />
</center><br />
<br />
The ''muse2ps'' program can accept two forms of input. By default, the ''muse2ps'' program will read multi-file [[stage2]] data from standard input. MuseData [[stage2]] files contain primarily symbolic musical data with possibly a little bit of formatting information (such as system and page breaks). The ''muse2ps'' program will format this symbolic music internally into [[page files]] which give explicit information about the placement of notes, slurs, beams, dynamics, lyrics, ''etc.'' on each page of music.<br />
<br />
Alternatively, if the <tt>=p</tt> option is given as an [[argument]] to ''muse2ps'', the program can read multi-file [[page files]] directly from standard input. Typically, [[stage2]] files are converted automatically into [[pages files]] and then further processing is done on these [[page files]] in order to produce a final typeset score of the graphical music notation. For example, the [[vskpage]] is used to refine the vertical spacing of staves and systems on a page of music within [[page files]], and [[eskpage]] is used to interactively edit the position of graphical elements within [[page files]].<br />
<br />
The only output from ''muse2ps'' (besides error messages) is PostScript data which describes the graphical music notation in a printable score of the music. This data can be further processed, such as sending directly to a PostScript printer, or converting into PDF files for web distrubution of the notated music. The representation of music notation within the PostScript file is in the form of bit-mapped musical fonts. The musical fonts are designed for use with 300 DPI resolution printers when printed at the native resolution (originally these fonts were designed for [http://en.wikipedia.org/wiki/Printer_Command_Language PCL-based printers]). These fonts have the unique feature of [http://en.wikipedia.org/wiki/Dither dithered] edges on sloped beams to minimize the visual effect of pixel stepping at 300 DPI resolution. Minor notation editing can be done on the PostScript/PDF files in programs such as Adobe Illustrator. If you print via PDF files, you may want to uncheck the page-scaling option in the printing program in order to avoid aliasing artifacts in the hard copy due to changing the intended size of the music on the page. <br />
<br />
Two other forms of data can be embedded within the PostScript output. If the <tt>=M</tt> option is given as an [[argument]] to the ''muse2ps'' program, then the original [[stage2]] data will be stored within comments in the PostScript data. Likewise, if the <tt>=P</tt> option is given, the [[page file]] data will be included in the PostScript output as comments. The [[page file]] data will either come from automatic generation using [[autoset]]/[[mskpage]], or from standard input if you use the <tt>=p</tt> option.<br />
<br />
There are also numerous options which primarily deal with the formatting of [[stage2]] files with the [[autoset]] and [[mskpage]] program components. See the [[#Options| options]] section below for a complete list of the options.<br />
<br />
== Download ==<br />
<br />
The ''muse2ps'' program executables for various operating systems or the source code can be downloaded from the following table. <b>Instructions for setting up the program for use can be found ''[[Muse2ps_installation_instructions| here]]''.</b><br />
<br />
<br />
<center><br />
{{muse2psdownloadtable}}<br />
</center><br />
<br />
== Online ==<br />
<br />
The ''muse2ps'' program can be run online at http://www.musedata.org/mdconverter . If you click on [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icons next to data found on the http://www.musedata.org website, the musical data will be loaded into this online converter from which PostScript, PDF, or PNG images of the music can be generated. <br />
<br />
For example, click on the [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icon on the information page for this [http://www.musedata.org/encodings/bach/bg/chorals/0428/ Bach chorale], then click on the {{keypress|Submit}} button on the converter page to generate a PDF file of the chorale with the default settings. Then try setting some options, such as using "<tt>[(.)(.)(.)(.)]</tt>" for the <b>System spine</b> option to prevent barlines from being drawn between staves in the score.<br />
<br />
You can create your own MuseData content and print with the online converter as well. Copy and paste the following MuseData content: [[Media:beethoven-kern.md2 | beethoven.md2]] into into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in this graphical music notation:<br />
<center><br />
[[Image:beethoven-kern.png]]<br />
</center><br />
<br />
== Command-line examples ==<br />
<br />
The simplest use of ''muse2ps'' is to send it MuseData [[stage2]] files as standard input, and save standard output from the program into a PostScript file:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps > [[Media:bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
<br />
You may need to use "<tt>./muse2ps</tt>" instead of "<tt>muse2ps</tt>" in the above command if the ''muse2ps'' program file is in the current directory, but the current directory is not in your [http://en.wikipedia.org/wiki/PATH_%28variable%29 command search path]. The PostScript output can then be further processed in an external program. Usually it is more convenient to work with the data as a PDF file. The process of converting PostScript to PDF can be done by many methods. For example, Acrobat Distiller or Acrobat Professional will convert PostScript files into PDF files. There are online converters, such as this one: http://www.ps2pdf.com/convert.htm . And on most linux computers you can convert PostScript into PDF files using the [http://pages.cs.wisc.edu/~ghost/doc/gnu/5.50/Ps2pdf.htm ps2pdf] command:<br />
ps2pdf [[Media:Bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
This will create the file [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]] (replacing the .ps extension with a .pdf extention automatically when saving the PDF file). If you click on the PDF file link in the previous sentence, you should see the musical notation for J.S. Bach's Well-Tempered Clavier, Book I, Prelude 1 in C major.<br />
<br />
An alternate method of using ps2pdf to generate a PDF file in a single step in conjunction with ''muse2ps'' would be with this command-line construction:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps | ps2pdf - > [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]]<br />
<br />
=== Last system justification ===<br />
<br />
By default ''muse2ps'' does not right-justify the last system of the music on the last page of the output (as can be seen in [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]]). If you<br />
want to justify the last system, use the <tt>=j</tt> option as an argument to ''muse2ps'':<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =j | ps2pdf - > [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]<br />
The ''muse2ps'' (or more precisely, the internal [[mskpage]] component) will possibly adjust line breaks on one or more of the previous systems in the score in order to fill enough music onto the last system, and then stretch or contract the music on the last system to fit the width between margins exactly. The <tt>=j</tt> option can potentially take significantly more time to process the input data than when it is omitted. The reason for the increased processing time can be seen by comparing [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]] and [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]. In order to right-justify the last system of the music, all systems in the music were recursively re-typeset so that the first system in the music contains only three measures instead of four.<br />
<br />
=== Grand-Staff vertical spacing ===<br />
<br />
The distance between staves in the grand staff (which is used for instruments such as the piano) can be controlled by the =g option. An integer number follows after the letter "g" in the option which specifies the distance between the two staves in terms of 1/10ths of the distance between staff lines. The default value for this option is =g100 which means that the distance between the top line of each staff is 10 staff lines.<br />
<br />
Here is an example of reducing the spacing between the staves to nothing. The =g50 option in this case means that the distance between the top of each staff is 5 staff lines. And since this is the height of a single staff, there will be no space between the two staves:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =g50 | ps2pdf - > [[Media:bach-wtc1p01-g50.pdf|bach-wtc1p01-g50.pdf]]<br />
<br />
<br />
=== Single-staff spacing in a system ===<br />
<br />
A ''system'' is a collection of staves which represent different instruments playing at the same time. The distance between these staves can be controlled with the =v option. Following =v is a list of comma-separated integers (with no intervening spaces). The unit for these numbers is the same as in the =g option: 1/10th of the distance between successive staff lines.<br />
<br />
The default spacing between staves will depend on whether they are supposed to be barred together or not. Here is the default spacing for four staves of a string quartet:<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
=== Using multiple options ===<br />
<br />
In the previous examples, the prelude is printed on two pages, with a single orphan system occurring on the second page. One way to force the music to fit onto a single page is to set the top margin from 120 pixels to 0 pixels with the option <tt>=t0</tt> and the printable length on the page to 3000 pixels (10 inches) with the option <tt>=l3000</tt>. When supplying multiple optional settings to muse2ps, there is only one option string which starts with the equals character (<tt>=</tt>) and is followed by all options with no spaces. Here is an example of using the <tt>=t0</tt>, <tt>=l3000</tt> and <tt>=j</tt> options at the same time, resulting in a single page of music:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =jt0l3000 | ps2pdf - > [[Media:bach-wtc1p01-jt0l3000.pdf|bach-wtc1p01-jt0l3000.pdf]]<br />
The order of the options in the option string is not important, so for example, "<tt>=l3000t0j</tt>" would yield the same results as "<tt>=jt0l3000</tt>".<br />
<br />
Instead of adjusting the vertical margins with the <tt>=t</tt> and <tt>=l</tt> options, you can also decrease the spacing between staves globally on the system. To do this, use the =v option followed by a list of distances between each staff on the system. In this example there are two staves in each system, so one value is expected after "=v". If there were three or more staves, then the vertical spacing values are separated by commas (and no spaces).<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =v160jt300 | ps2pdf - > [[Media:bach-wtc1p01-v160jt300.pdf|bach-wtc1p01-v160jt300.pdf]]<br />
<br />
In the above example, "<tt>=v160</tt>" means make the spacing between staves on the system slightly more than 1/2 an inch; "<tt>=j</tt>" means to right-justify the last system of music; and "<tt>t300</tt>" means add an extra inch to the top margin (the default setting is "<tt>=t120</tt>".<br />
<br />
=== Music size ===<br />
<br />
The ''muse2ps'' program can typeset music in several sizes: 6, 14, 16, 18 and 21. These numbers refer to the pixel count (at 300 DPI) between successive staff lines. For example, here is a zoom-in of music typeset using the size 6 font, where each staff line is one pixel wide, and there are 5 pixels in the gap between lines, making each staff line spaced every 6 pixels and hence the name "size 6":<br />
<br />
<center><br />
[[File:Dmuse-size6.png|411px]]<br />
</center><br />
<br />
<br />
The default size that ''muse2ps'' will typeset music in is size 14. To display the music at other sizes, use the <tt>=z</tt> option followed by the size. Here is the example prelude printed in all sizes (with right-justification of the last system using <tt>=j</tt> also added to the option string):<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z6j&nbsp;&nbsp;| ps2pdf - > [[Media:bach-wtc1p01-z6j.pdf|bach-wtc1p01-z6j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z14j | ps2pdf - > [[Media:bach-wtc1p01-z14j.pdf|bach-wtc1p01-z14j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z16j | ps2pdf - > [[Media:bach-wtc1p01-z16j.pdf|bach-wtc1p01-z16j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z18j | ps2pdf - > [[Media:bach-wtc1p01-z18j.pdf|bach-wtc1p01-z18j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z21j | ps2pdf - > [[Media:bach-wtc1p01-z21j.pdf|bach-wtc1p01-z21j.pdf]]<br />
<br />
Full-scores are typically printed at size 14 (particularly scores with many parts). Parts for performers are typically printed at sizes 18 or 21. Piano music is typically printed at size 16, and Size 18 has dither on two-pixel wide staff lines. The approximate equivalents to point sizes in regular text (multiplying by the factor 72/300 and then multiplying by 3):<br />
<br />
<center><br />
{| class="wikitable" cellpadding="0" cellspacing="0" border="0"<br />
|- |- {{Style|table header}}<br />
! scope="col" align="left" | MuseData music size<br />
! scope="col" align="left" | Staff height (mm)<br />
! score="col" align="left" | Approximate text font size<br />
! score="col" align="left" | Musical application<br />
|-<br />
| 6 || 2.03 mm || 4 pt || none<br />
|-<br />
| 14 || 4.74 mm || 10 pt || full scores<br />
|-<br />
| 16 || 5.42 mm || 11.5 pt || piano music, vocal scores<br />
|-<br />
| 18 || 6.10 mm || 13 pt || instrumental parts<br />
|-<br />
| 21 || 7.11 mm || 15 pt || large-size instrumental parts<br />
|}<br />
</center><br />
<br />
=== Extracting MPG intermediate data ===<br />
<br />
When a MuseData [[stage2]] file is converted into graphical music notation as PostScript output from ''muse2ps'', it will pass through two data transformation steps. The first step is a conversion from [[stage2]] data into non-page-specific [[i-files]] which is accomplished with the [[autoset]] component. Then these "non-page-specific" [[i-files]] are converted into "page-specific" [[page files|i-files]] (or Music Page (MPG) files) which describe the precise position of musical elements on each page of typeset music. This [[music page]] data can be extracted from the program surreptitiously by using the "=P" option. This will cause the [[MPG]] data to be embedded in comments within the PostScript output. Each page of MPG data will be stored in a sequence of comments starting with "<tt>%=BeginMPGData: 1</tt>", where <tt>1</tt> is the data for page one. And each page of MPG data is ended by the comment <tt>"%=EndMPGData: 1"</tt>.<br />
<br />
All MuseData/dmuse related comments in the PostScript output start with the comment marker "%=", so the MPG data can easily be separated from the PostScript content and other irrelevant comments in a manner such as this:<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =P | grep "^%=" > [[Media:Mpg-comments.txt|mpg-comments.txt]]<br />
The [[regular expression]] search string "<tt>^%=</tt>" used in the [http://en.wikipedia.org/wiki/Grep grep] command means extract lines from the input which start with the two characters "<tt>%=</tt>".<br />
<br />
A PERL utility program, called [[Media:unpackmpg.pl|unpackmpg]], for extracting the MPG data from the comments is included with the source code for ''muse2ps'':<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =Pg85jt200l3000 | [[Media:unpackmpg.pl|unpackmpg]] > [[Media:Mpg-comments.mpg|mpg-comments.mpg]]<br />
In the above command the options mean:<br />
* <tt>=P</tt>: Output [[music page]] data.<br />
* <tt>=g85</tt>: Set the distance between the staves in the grand staff to 8.5 staff lines (default is 100, or 10 staff lines).<br />
* <tt>=j</tt>: Right-justify the last system of the music.<br />
* <tt>=t200</tt>: Set the top margin to 2/3 of a inch below the base position.<br />
* <tt>=l3000</tt>: Set the vertical printable region to 10 inches.<br />
<br />
=== Inputting MPG data (adding a title) ===<br />
<br />
The extracted [[music page]] data from the previous section can be edited (such as to add a title) and then can be reprocessed by ''muse2ps'' to generate PostScript output:<br />
cat [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] | muse2ps =p | ps2pdf - > [[Media:Bach-wtc1p01-title.pdf|bach-wtc1p01-title.pdf]]<br />
<br />
In this case the file [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] is the equivalent to the MPG data generated by ''muse2ps'' in the previous section: [[Media:Mpg-comments.mpg|mpg-comments.mpg]], but with these three lines added to generate a title for the first page:<br />
<br />
<pre><br />
X 14<br />
X 46 1200C 0 Well-Tempered Clavier, Book I, Prelude 1 in C major<br />
X 37 1200C 50 BWV 846<br />
</pre><br />
<br />
The first line sets the font indexes relative to music size 14. The second line places the line at "1200C 0" which means center the line horizontally at location 1200 (4 inches from the left margin), and position the line vertically at position 0 (0 inches below the top margin).<br />
<br />
[[Music page]] data for many of the score on http://www.musedata.org are available as both [[stage2]] files and [[music page]] files. Using the [[music page]] files as input to ''muse2ps'' will generate better graphical notation results, since the automatically typeset data from the [[stage2]] files has been proofread and adjusted by a human.<br />
<br />
== Options ==<br />
<br />
Below is a list of the options which muse2ps understands. Options are given<br />
as the first (and only) argument to the program, starting with an equals sign (=), then followed by the options in any order, with no spaces between the options. For example, to set the music size to 18 and right-justify the last system on the last page, use the option string =z21j:<br />
cat file.md2 | muse2ps =z21j > file.ps<br />
When using characters which may be parsed by the command-line interpreter, you will have to enclose the option string in single quotes (you can do this all of the time if you are uncertain of the conditions in which they would be required):<br />
cat file.md2 | muse2ps '=z21js^{(..}}^T^title^' | ps2pdf - > file.pdf<br />
<br />
In option strings such as "=c<#>", replace <#> with an integer. <tt>[#]</tt> indicates an optional number.<br />
<br />
{|class="wikitable" cellpadding="0" cellspacing="0" border="0" style="width:100%"<br />
|- {{Style|table header}}<br />
! scope="col" width="100px" align="center"| muse2ps option index<br />
|-<br />
| <div style="column-count:3;-moz-column-count:3;-webkit-column-count:3"><br />
* {{nowrap|{{mopt|c}} compression}}<br />
* {{nowrap|{{mopt|C}} composer}}<br />
* {{nowrap|{{mopt|d}} diagnostics}}<br />
* {{nowrap|{{mopt|D}} dash spacing}}<br />
* {{nowrap|{{mopt|E}} eof insertion}}<br />
* {{nowrap|{{mopt|f}} fill by staff}}<br />
* {{nowrap|{{mopt|F}} fill by system}}<br />
* {{nowrap|{{mopt|g}} grand staff spacing}}<br />
* {{nowrap|{{mopt|G}} group selection}}<br />
* {{nowrap|{{mopt|h}} note space}}<br />
* {{nowrap|{{mopt|i}} indentation flag}}<br />
* {{nowrap|{{mopt|I}} indentation amount}}<br />
* {{nowrap|{{mopt|j}} justification}}<br />
* {{nowrap|{{mopt|k}} display options}}<br />
* {{nowrap|{{mopt|l}} page length}}<br />
* {{nowrap|{{mopt|m}} left margin}}<br />
* {{nowrap|{{mopt|M}} embed stage2 data}}<br />
* {{nowrap|{{mopt|n}} number of systems}}<br />
* {{nowrap|{{mopt|p}} page files input}}<br />
* {{nowrap|{{mopt|P}} embed page files}}<br />
* {{nowrap|{{mopt|Q}} minimum distance duration}}<br />
* {{nowrap|{{mopt|s}} system spine}}<br />
* {{nowrap|{{mopt|S}} title/system space}}<br />
* {{nowrap|{{mopt|t}} top margin}}<br />
* {{nowrap|{{mopt|T}} title}}<br />
* {{nowrap|{{mopt|u}} subtitle}}<br />
* {{nowrap|{{mopt|v}} staff spacing}}<br />
* {{nowrap|{{mopt|w}} system width}}<br />
* {{nowrap|{{mopt|W}} thin barlines}}<br />
* {{nowrap|{{mopt|x}} no suggestions}}<br />
* {{nowrap|{{mopt|X}} no last barline}}<br />
* {{nowrap|{{mopt|y}} no line controls}}<br />
* {{nowrap|{{mopt|Y}} no initial time signature}}<br />
* {{nowrap|{{mopt|z}} music size}}<br />
</div><br />
|}<br />
<br><br />
<br />
See also the Dmuse text file [[Media:muse2ps-options.dm | options.dm]], or the HTML equivalent [[Media:muse2ps-options.html| options.html]] for a brief description of each option.<br />
<br />
{| style="background-color:white" cellpadding="4"<br />
|- valign="top"<br />
| {{anchor|c_option}}<b>=c</b><#>|| Compression factor: This is measured as a percentage of the default. 100 = no compression (100%). Use smaller values to decrease the spacing between notes (allowing fewer pages in the score). Values larger than 100 will expand the distance between notes (increasing the number of pages in the score). This option is useful to force the last system of music to occur at the bottom of a page.<br />
<br />
|- valign="top"<br />
|{{anchor|C_option}}<b>=C</b>^string^ || Display the ''string'' as the composer's name at the top right side of the first page. See <b>=T</b> for the title, and <b>=u</b> for the sub-title. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|d_option}}<b>=d</b><#> || Diagnostics and Error Messages.<br />
bit 0 of #: ON = print error messages<br />
bit 1 of #: ON = print all diagnostics<br />
bit 2 of #: ON = print diagnostics from autoset<br />
bit 3 of #: ON = print diagnostics from mskpage<br />
bit 4 of #: ON = print diagnostics from pspage<br />
no number = 0x01: print error messages<br />
For example, =d31 turns on all error message toggles. This option is useful if the output PostScript data from muse2ps is empty. The messages go to standard error, while the PostScript data goes to standard output. Therefore, you can print the error messages and still save or pipe the PostScript data without the error messages mixing with the output data.<br />
<br />
|- valign="top"<br />
| {{anchor|D_option}}<b>=D</b> || Spacing between dashes. Will override spacing in stage2 files: 0 = use default, >0 = space between dashes (units are dash-length).<br />
<br />
|- valign="top"<br />
| {{anchor|E_option}}<b>=E</b> || <tt>/END</tt> = <tt>/eof</tt>. The muse2ps program allows for multiple parts to be entered from standard input in a single stream of data. Normally the data files representing each part are separated from each other by a line containing only "<tt>/eof</tt>" (lowercase; meaning "End of File"). Separate MuseData [[stage2]] files do not typically end in "<tt>/eof</tt>", but rather, they are required to contain the line "<tt>/END</tt>" (uppercase) to indicate the end of the data. After "<tt>/END</tt>", any textual comments are allowed. With the =E option, you do not need to separate files by "<tt>/eof</tt>", and instead, the next file in the sequence will start on the line coming after "<tt>/END</tt>". Note, however, that you cannot use the =E option if there is any commentary after "<tt>/END</tt>" in a file.<br />
<br />
|- valign="top"<br />
| {{anchor|f_option}}<b>=f</b> || Fill pages to the bottom by proportionally stretching all spacings. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|F_option}}<b>=F</b> || Fill pages to the bottom by adding to the intersystem space only. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|g_option}}<b>=g</b><#>|| Grand staff intra-space measured in multiples of ledger lines times 10. The default is 100, which is 10 ledger lines. Note that this distance reference is different from the =v values which define the distance from the top of one staff to the top of the next staff. For the =g, option, the distance is from the bottom of the top staff to the top of the bottom staff.<br />
<br />
|- valign="top"<br />
| {{anchor|G_option}}<b>=G</b>^group-name^ || Group name to process. The default is "score". Available groups are found on data line 11 at the top of each MuseData [[stage2]] file (excluding any single- or multi-line comments). Other possibilities might be "part" or "data".<br />
<br />
|- valign="top"<br />
| {{anchor|h_option}}<b>=h</b><#> || Alter the minimum allowed space between notes. This is measured as a percentage of the default. 100 = no change (100%).<br />
<br />
|- valign="top"<br />
|{{anchor|i_option}}<b>=i</b><#> || Initial system indentation options flag.<br />
* 0 = use program defaults (set indentation with <tt>=I</tt> option).<br />
* 1 = no indentation of first system of music<br />
* 2 = indent first system, and after every forced system break.<br />
<br />
|- valign="top"<br />
| {{anchor|I_option}}<b>=I</b><#> || Specify the indentation amount for the first system in the music. If zero, then default indentation amount will be used. (see the <tt>=i</tt> option for turning off indentation).<br />
<br />
|- valign="top"<br />
|{{anchor|j_option}}<b>=j</b> || Right-justify the last system of the music so that it extends all of the way across the page. The default is NOT to right justify. Right-justification is a recursive process where measures from previous systems may be moved ahead in the score to cause all systems to have approximately the same note density.<br />
<br />
|- valign="top"<br />
| {{anchor|k_option}}<b>=k</b>^0x<tt>#</tt>^ || Display alternative options. Options are stored in a hexadecimal number prefixed with the string "<tt>0x</tt>" (C program-styled hex number). The default values are the 0 bit settings. The meaning of the bits in the hexadecimal number are (from least significant to most significant bit):<br />
<br />
<table cellpadding=0 cellspacing=0><br />
<tr valign=baseline><th>bit</th><td width=10></td><th>meaning</th></tr><br />
<br />
<tr valign=baseline><td>0</td><td></td><td><br />
<b>k-option activation flag</b><br />
* 1: <i>k</i> option is active, read options in more significant bits.<br />
* 0: <i>k</i> option is inactive. Used to turn off this option as a command-line over-ride.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>1</td><td></td><td><br />
<b>Sforzando/rfz flag</b><br />
* 0: display sforzando as sf (rf).<br />
* 1: display sforzando as sfz (rfz).<br />
</td></tr><br />
<br />
<tr valign=baseline><td>2</td><td></td><td><br />
<b>Sub-edit flag</b><br />
* 0: display editorial markup differently from regular data (such as adding brackets around editorial elements).<br />
* 1: do not display editorial data differently from regular data.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>3</td><td></td><td><br />
<b>No-editorial flag</b><br />
* 0: display editorial markup data.<br />
* 1: do not display editorial markup data.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>4</td><td></td><td><br />
<b> Editorial markup in Roman font flag</b><br />
* 0: use cue-size music fonts for editorial marks.<br />
* 1: use Times-Roan font for editorial marks: tr, dynamics.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>5</td><td></td><td><br />
<b>Ligature flag</b><br />
* 0: do not use ligatures in text.<br />
* 1: use ligatures for "ffl", "ffi", "ff", "fl", and "fi".<br />
</td></tr><br />
<br />
<tr valign=baseline><td>6</td><td></td><td><br />
<b>Figured harmony flag</b><br />
* 0: place figured harmony (figured bass) below the staff.<br />
* 1: place figured harmony (figured bass) above the staff.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>7</td><td></td><td><br />
<b> mheavy4 barline style flag</b><br />
* 0: mheavy4 barline represented by two heavy lines.<br />
* 1: mheavy4 barline represented by one thin, one thick, and then another thin line.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>8</td><td></td><td><br />
<b>Multi-voice augmentation dot option</b><br />
* 0: allow overstrike of dots in different voices.<br />
* 1: do not allow overstrike.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>9</td><td></td><td><br />
<b>New key signatures option</b><br />
* 0: don't print a new key signature if it is the same as the previous one on the staff.<br />
* 1: print a new key signature even if it repeats the previous key signature on the staff.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>10</td><td></td><td><br />
<b>Mixed duration chords</b><br />
* 0: don't allow a mixture of white and black notes in chords.<br />
* 1: allow mixture of white and black notes in chords.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>11</td><td></td><td><br />
<b>Suppress key signature flag </b><br />
* 0: display key signatures.<br />
* 1: suppress printing of the key signature (such as for timpani parts).<br />
</td></tr><br />
<br />
<tr valign=baseline><td>12</td><td></td><td><br />
<b>Editorial slurs flag</b><br />
* 0: all slurs are regular.<br />
* 1: <tt>{ }</tt> and <tt>z x</tt> slurs are editorial slurs (dashed slurs).<br />
</td></tr><br />
<br />
<tr valign=baseline><td>13</td><td></td><td><br />
<b>New clef sign flag </b><br />
* 0: large clefs at start of system, cue-size clefs for clef changes.<br />
* 1: always use large clefs.<br />
</td></tr><br />
<br />
</table><br />
<br />
|- valign="top"<br />
| {{anchor|l_option}}<b>=l</b><#>|| Length of a page. Distance is measured dots, at 300 dots to the inch. Default is 2740 dots. The default starting height is 120 dots. This will not be lowered, but may be raised to accommodate a longer page.<br />
<br />
|- valign="top"<br />
| {{anchor|m_option}}<b>=m</b><#> || Left margin, measured in at 300 dots/inch. The default is 200 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|M_option}}<b>=M</b> || Include the contents of the MuseData source files in the trailer section of the file embedded in PostScript comments (if MuseData [[stage2]] files are used as input.<br />
<br />
|- valign="top"<br />
| {{anchor|n_option}}<b>=n</b><#> || Maximum number of systems on a page. The default is no maximum.<br />
<br />
|- valign="top"<br />
| {{anchor|p_option}}<b>=p</b> || The source is a concatenated set of page specific i-files (also called .mpg files), not a set of MuseData files.<br />
<br />
|- valign="top"<br />
| {{anchor|P_option}}<b>=P</b> || Include listings of the page specific i-files, which are the source of the output PostScript data. Each page is separated.<br />
<br />
|- valign="top"<br />
| {{anchor|Q_option}}<b>=Q</b><#> || Duration which is assigned the minimum distance.<br />
1 = whole notes<br />
... . . .<br />
8 = eighth notes<br />
16 = sixteenth notes, etc.<br />
<br />
|- valign="top"<br />
| {{anchor|s_option}}<b>=s</b>^string^ || Custom left-hand spine. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=s^[(....)][(..)](.)[({..}..)]^<br />
Each dot in the system bracketing string represents one part, with the first dot in the string representing the top staff of the system. If a grand staff is used for any part, then use the colon character (:) for that part. Staves which should be bracketed together are enclosed in square brackets: <tt>[]</tt>. Staves which should be braced together are enclosed in curly braces: <tt>{}</tt>. Staves which should be barred together (barlines connecting between staves) are enclosed in parentheses: <tt>()</tt>. The caret character (^) is used to mark the start and top of the option string. Subsequent options occur immediately after the second caret character with no intervening space.<br />
<br />
|- valign="top"<br />
| {{anchor|S_option}}<b>=S</b><#> || Add extra space between the title and the first system of music: 0 = use default, >0 = lower the first system (units are 1/300th of an inch).<br />
<br />
|- valign="top"<br />
|{{anchor|t_option}}<b>=t</b><#> || Top of page. Default is 120 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|T_option}}<b>=T</b>^string^ || Display the ''string'' as a title at the top of the (first) page. See <b>=u</b> for sub-title, and <b>=C</b> for composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|u_option}}<b>=u</b>^string^ || Display the ''string'' as a sub-title at the top of the (first) page. See <b>=T</b> for the title, and <b>=C</b> for the composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|v_option}}<b>=v</b><#,#,#...#> || Custom spacings. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=v192,192,192,208,192,208,176,176,176,200<br />
The above example setting for the =v option can be used for a system with 8 parts (such as 4 woodwinds, 2 horns, and 4 string instruments). The first seven values describe the spacing between each staff in the system, and the last value is the spacing between systems on the page. The spacing between staves and systems is constant with muse2ps. The spacing values are 1/10th of the distance between two staff lines, and the spacing value is the distance from the top of one staff to the top of the next staff (or the top of the last staff on a system to the top of the staff on the next system for the last value in the list). See the <tt>=g</tt> option for spacing the staves of a grand staff (such as for piano music). When a grand staff is part of a system with more parts, then the distance between the grand staff and the next system is the distance between the top of the bottom staff of the grand-staff pair and the top of the next staff.<br />
<br />
|- valign="top"<br />
| {{anchor|w_option}}<b>=w</b><#> || System width, measured in at 300 dots/inch. The default is 2050 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|W_option}}<b>=W</b>[#] || Thin barline flag. 0 = use regular barlines. 1 = use thin barlines. No number after <tt>=W</tt> means the same as <tt>=W0</tt>.<br />
<br />
|- valign="top"<br />
| {{anchor|x_option}}<b>=x</b> || Defeat all part inclusion suggestions in the data<br />
<br />
|- valign="top"<br />
| {{anchor|X_option}}<b>=X</b>[#] || Leave off the last barline (for short examples). 0 = print last bar, 1 = don't print last bar, <tt>=X</tt> without a number is equivalent to <tt>=X1</tt>. Note: you can add extra staff-line space in the last bar by putting in <tt>irest</tt>s, but you must put <tt>irest</tt>s in all parts, and they must all represent the same note-type (duration). Note also: If the last barline is anything but a regular measure line, it will continue to print.<br />
<br />
|- valign="top"<br />
|{{anchor|y_option}}<b>=y</b> || Defeat all line control suggestions in the data.<br />
<br />
|- valign="top"<br />
|{{anchor|Y_option}}<b>=Y</b><#> || Suppress printing first time signature in score. Used for printing small examples which have a time signature in the data, but none desired in graphical notation. You can also use a time signature in the data of "<tt>T:9/0</tt>" to generate a <i>hidden</i> time signature, and not giving a time signature at the start of a file will result in not time signature being printed. 0 = print initial time signatures (used to override options embedded in data). 1 = suppress first time signature (<tt>=Y</tt> is equivalent to <tt>=Y1</tt>).<br />
<br />
|- valign="top"<br />
| {{anchor|z_option}}<b>=z</b><#> || Music size: choices are 6,14,16,18,21. 14 is the default. This value describes the distance between staff lines in units of 300 dots per inch.<br />
<br />
|}<br />
<br />
== Multi-file input specification ==<br />
<br />
Normally individual MuseData [[stage2]] files contain a single part. These part files are concatenated together and sent via standard input into the muse2ps program. In order for the muse2ps program to be able to segment the separate part files from the original stream the marked "<tt>/eof</tt>" is added after the last line in each file, and the marker "<tt>//</tt>" is ''required'' after the end of all datafile input into muse2ps. <br />
<br />
Typically the last line of a [[stage2]] MuseData file consists of the string "<tt>/END</tt>" (in uppercase), so add the line "<tt>/eof</tt>" (in lowercase) after it: <br />
/END<br />
/eof<br />
<br />
The very last three lines of input to muse2ps should should look like this:<br />
<br />
/END<br />
/eof<br />
//<br />
<br />
If you specify the =E option when running muse2ps, the "<tt>/END</tt>" markers will be used to segment the separate part files internally.<br />
<br />
The PERL script [[Media:collatemd2.pl|collatemd2]] (included with the source code to muse2ps) can be used to concatenate multiple [[stage2]] part files into a single input stream for muse2ps. The output of the PERL script can be saved to a file for later processing with muse2ps. In this case the recommended file extension for the multi-file MuseData content is <b>.md2</b> . Here are example uses of [[Media:collatemd2.pl|collatemd2]]:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
You many have to type "<tt>./collatemd2</tt>" instead of "<tt>collatemd2</tt>" if the perl program is in the current directory and the current directory is not in the command search path. If you download the program from this page, remove the .pl extension when saving (and use a lower-case first letter for the filename). You may have to set the permissions to allow it to be run as a program with the unix command: <tt>chmod 0755 collatemd2</tt>.<br />
<br />
Alternatively, you can save the output from [[Media:collatemd2.pl|collatemd2]] into a file for later use with muse2ps:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] > [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]]<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
When downloading MuseData [[stage2]] files from http://www.musedata.org , the parts are all combined into a single multi-file MuseData file which is the equivalent to the output from [[Media:collatemd2.pl|collatemd2]].<br />
<br />
=== Multiple Music Page files ===<br />
<br />
When concatenating multiple Music Page (MPG) files, separate each file's content with a line with the single capital letter "P" on it. Example of how to do this on the command line, creating a PDF file:<br />
<br />
<source lang="bash"><br />
for i in ??<br />
do<br />
cat $i<br />
echo P<br />
done | muse2ps =p | ps2pdf - - > output.pdf<br />
</source><br />
<br />
N.B.: Probably two slashes also need to be added at the end of the last page; otherwise, it will not print:<br />
<br />
//<br />
<br />
== Color highlighting ==<br />
<br />
A soon-to-be released update of muse2ps will allow for coloring of notes in the score. This colorization can be used in conjunction with displaying search results, or highlighting notes in an example. <br />
<br />
If you place an "R" character in column 14 for note (or rest) records, That note will be highlighted red. A capital "R" will also highlight the stem of the note, while a lower case "r" will color only the notehead. If multiple colored notes all share a common beam, then that beam is also highlighted.<br />
<br />
The letter "B" can be used in column 14 to color notes blue, and the letter "G" can be used to color notes green. The lowercase versions "r" and "g" can be used to color only the noteheads and not the stems.<br />
<br />
== Embedded options ==<br />
<br />
The <i>muse2ps</i> program can read options sent in the input data stream. Options can be embedded in the input data as single-line comments. In [[stage2]] files, single-line comments start with an at-sign (<tt>@</tt>) in the first column of the line. Following the comment marker comes an option identification string "<tt>muse2psv1</tt>", with "<tt>v1</tt>" being the option version level (currently level 1, and can be used in the future to keep options backwards and forwards compatible. Default options, listed in the previous section describing the options, can be overridden by using the default option setting method which adds two equal signs in a row, followed by any options. Multiple default option <br />
comments may occur to prevent the length of the line from getting too long (it is a good idea to limit the length of the line for full backwards compatibility with dmuse and [[stage2]] files, although the current line limit in dmuse/muse2ps is 900 characters).<br />
<br />
Option for specific music sizes can be set by placing the size option between the two equals signs in the option comment. Here is an example option comment header:<br />
<br />
@muse2psv1==z18<br />
@muse2psv1==T^Bach Chorale^u^bwv-277^C^J.S. Bach (1685-1750)^<br />
@muse2psv1=z14=v200,155,155,155j<br />
@muse2psv1=z18=v240,195,195,195j<br />
@muse2psv1=z21=v300,230,230,230j<br />
<br />
The first two lines are default option settings for all music sizes. The first line sets the default music size to 18 if no size is given on the command line to muse2ps. The second line sets the title, subtitle, and composer fields on the title page. The last three lines set the vertical spacing between staves at various music sizes; the first for size 14, then size 18, and the last line for size 21.<br />
<br />
== ps2pdf options ==<br />
<br />
The default behavior of the ps2pdf program is to assume that the input data is formatted for A4 paper. The default output size for muse2ps is US letter. In order for ps2pdf to generate output pages with the correct dimensions, add the option <tt>-sPAPERSIZE=letter</tt> as an argument to the program:<br />
ps2pdf -sPAPERSIZE=letter<br />
<br />
Another pair of useful options (not needed for output from muse2ps, but useful when adding footers at later states in data program) embed the fonts used in the file:<br />
ps2pdf -sPAPERSIZE=letter -dCompatibilityLevel=1.4 -dPDFSETTINGS=/prepress<br />
<br />
For example the Symbol font is not present on the Apple iPad PDF viewer. When using the options in this example, the Symbol font (or the portion used) would be embedded in the file and therefore viewable on an iPad.<br />
<br />
== Creating images ==<br />
<br />
Graphical images can be created in various ways. A good method is to convert PostScript output from muse2ps to a bitmap image with the unix command-line program pstopnm. For smaller examples and converting to other images formtas, Imagemagick's convert is another command-line which is useful. Both pstopnm and convert are often pre-installed on linux computers, and both are available for free on the internet. They should also work with OS X, and can be used in MS Windows using [http://www.cygwin.com cygwin].<br />
<br />
To create an image pipe the output from muse2ps into pstopnm, and convert to a bitmapped image at 300 dots per inch. Next pipe the resulting image to convert for further processing. In the following example, the image is first trimmed from a full page to just the area which contains the printed music, then the image is resized to 33% of the original size for use on the web, and saved into a PNG file.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -resize '33%' [[Media:scale.png|scale.png]]<br />
<br />
=== Transparent background ===<br />
<br />
Use the options <tt>-negate -alpha copy -negate</tt> to make the background of the image transparent so that it can be displayed on any background color. Here is the example image which was just created with the above command:<br />
<br />
[[Image:scale.png]]<br />
<br />
Notice that the background color of the image is white, which becomes noticeable when placing the image on a non-white background color. Now create an image with a transparent background:<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -negate -alpha copy -negate \<br />
-resize '33%' [[Media:scale-transparent.png|scale.png]]<br />
<center><br />
<table cellspacing=0 cellpadding=3><tr bgcolor=#ffffff><td bgcolor=#4499aa><br />
[[Image:scale-transparent.png]]<br />
</td><td width=10><br />
<td bgcolor=#ffaa44>[[Image:scale-transparent.png]]<br />
</td></tr></table></center><br />
<br />
<br />
=== Images for printed publications ===<br />
<br />
To insert musical examples in a Microsoft or similar word processing program, do not resize the image, but leave it at the 300 dots per inch size of the original. Then you can rescale the image in the word processor as necessary. This will optimize the quality of the image in the final printout from the word processor.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim [[Media:scale-large.png|scale.png]]<br />
<br />
== Humdrum interface ==<br />
<br />
The muse2ps program can be used in conjunction with the [http://extra.humdrum.org/man/hum2muse hum2muse] program. Here is an example of how to create graphical music notation using the following Humdrum data as an example:<br />
<br />
<table cellspacing=0><tr bgcolor=white valign=top><td><htmlet>beethoven-kern</htmlet></td><br />
<td width=10></td><br />
<td> <br />
<pre><br />
hum2muse file.krn | muse2ps \<br />
| ps2pdf - - > file.png<br />
</pre><br />
[[Image:beethoven-kern.png]] <br />
<br><br />
<br><br />
<br><br />
</td><br />
</tr><br />
</table><br />
<br />
Images can be generated from Humdrum data online by pasting/typing data into the [http://kern.humdrum.org/cgi-bin/kern/kseditor Humdrum online editor]. For example, copy and paste the above Humdrum data into the left black box on the Humdrum online editor page, and the click on the red "Generate" button to produce an image of the graphical music using the default settings.<br />
<br />
Here is the intermediate MuseData which is passed between [http://extra.humdrum.org/man/hum2muse hum2muse] and muse2ps: [[Media:beethoven-kern.md2 | beethoven.md2]]. Try copying / pasting<br />
this data into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in the same music notation as seen above.<br />
<br />
== Zbex programs ==<br />
<br />
In the muse2ps source code directory, the sub-directory <tt>zprogs</tt> contains the [[zbex]] programs used to generate the file zfun32.c. Most necessary files needed to create [http://www.ccarh.org/software/muse2ps/muse2ps/zfun32.c zfun32.c] are in that directory, but perhaps not all of them. These programs are not used directly by muse2ps, but are compiled into zbex executable code within zfun32.c. The muse2ps is essentially a non-interactive version of [[dmuse]] (see http://dmuse.ccarh.org). The [[dmuse]] program is a text editor which also has a built-in [[zbex]] language interpreter and graphical music display capabilities. The interpreter portion of [[dmuse]] has been extracted for non-interactive use in muse2ps.<br />
<br />
== Examples == <br />
<br />
Further examples of MuseData [[stage2]] files converted into graphical music notation with muse2ps can be found on the [[MuseData examples]] page.<br />
<br />
== Feature requests and bug reports ==<br />
<br />
See the page: [[Muse2ps feature requests and bug reports]].</div>Edchttps://wiki.ccarh.org/index.php?title=Muse2ps&diff=10505Muse2ps2021-03-30T15:28:04Z<p>Edc: /* Options */</p>
<hr />
<div>__TOC__<br />
<br />
== Overview == <br />
<br />
The <b>muse2ps</b> program is a command-line version of the [[autoset]], [[mskpage]] and [[pspage]] programs which are usually run within the [[dmuse]] editor using the built-in [[zbex language]] interpreter. The ''muse2ps'' program reads MuseData [[stage2]] data or [[page file]] data from standard input and converts them into PostScript data representing graphical musical notation which is sent to standard output. The following diagram illustrates the flow of data through ''muse2ps'':<br />
<br />
<br />
<center><br />
[[File:muse2ps-dataflow.svg]]<br />
</center><br />
<br />
The ''muse2ps'' program can accept two forms of input. By default, the ''muse2ps'' program will read multi-file [[stage2]] data from standard input. MuseData [[stage2]] files contain primarily symbolic musical data with possibly a little bit of formatting information (such as system and page breaks). The ''muse2ps'' program will format this symbolic music internally into [[page files]] which give explicit information about the placement of notes, slurs, beams, dynamics, lyrics, ''etc.'' on each page of music.<br />
<br />
Alternatively, if the <tt>=p</tt> option is given as an [[argument]] to ''muse2ps'', the program can read multi-file [[page files]] directly from standard input. Typically, [[stage2]] files are converted automatically into [[pages files]] and then further processing is done on these [[page files]] in order to produce a final typeset score of the graphical music notation. For example, the [[vskpage]] is used to refine the vertical spacing of staves and systems on a page of music within [[page files]], and [[eskpage]] is used to interactively edit the position of graphical elements within [[page files]].<br />
<br />
The only output from ''muse2ps'' (besides error messages) is PostScript data which describes the graphical music notation in a printable score of the music. This data can be further processed, such as sending directly to a PostScript printer, or converting into PDF files for web distrubution of the notated music. The representation of music notation within the PostScript file is in the form of bit-mapped musical fonts. The musical fonts are designed for use with 300 DPI resolution printers when printed at the native resolution (originally these fonts were designed for [http://en.wikipedia.org/wiki/Printer_Command_Language PCL-based printers]). These fonts have the unique feature of [http://en.wikipedia.org/wiki/Dither dithered] edges on sloped beams to minimize the visual effect of pixel stepping at 300 DPI resolution. Minor notation editing can be done on the PostScript/PDF files in programs such as Adobe Illustrator. If you print via PDF files, you may want to uncheck the page-scaling option in the printing program in order to avoid aliasing artifacts in the hard copy due to changing the intended size of the music on the page. <br />
<br />
Two other forms of data can be embedded within the PostScript output. If the <tt>=M</tt> option is given as an [[argument]] to the ''muse2ps'' program, then the original [[stage2]] data will be stored within comments in the PostScript data. Likewise, if the <tt>=P</tt> option is given, the [[page file]] data will be included in the PostScript output as comments. The [[page file]] data will either come from automatic generation using [[autoset]]/[[mskpage]], or from standard input if you use the <tt>=p</tt> option.<br />
<br />
There are also numerous options which primarily deal with the formatting of [[stage2]] files with the [[autoset]] and [[mskpage]] program components. See the [[#Options| options]] section below for a complete list of the options.<br />
<br />
== Download ==<br />
<br />
The ''muse2ps'' program executables for various operating systems or the source code can be downloaded from the following table. <b>Instructions for setting up the program for use can be found ''[[Muse2ps_installation_instructions| here]]''.</b><br />
<br />
<br />
<center><br />
{{muse2psdownloadtable}}<br />
</center><br />
<br />
== Online ==<br />
<br />
The ''muse2ps'' program can be run online at http://www.musedata.org/mdconverter . If you click on [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icons next to data found on the http://www.musedata.org website, the musical data will be loaded into this online converter from which PostScript, PDF, or PNG images of the music can be generated. <br />
<br />
For example, click on the [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icon on the information page for this [http://www.musedata.org/encodings/bach/bg/chorals/0428/ Bach chorale], then click on the {{keypress|Submit}} button on the converter page to generate a PDF file of the chorale with the default settings. Then try setting some options, such as using "<tt>[(.)(.)(.)(.)]</tt>" for the <b>System spine</b> option to prevent barlines from being drawn between staves in the score.<br />
<br />
You can create your own MuseData content and print with the online converter as well. Copy and paste the following MuseData content: [[Media:beethoven-kern.md2 | beethoven.md2]] into into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in this graphical music notation:<br />
<center><br />
[[Image:beethoven-kern.png]]<br />
</center><br />
<br />
== Command-line examples ==<br />
<br />
The simplest use of ''muse2ps'' is to send it MuseData [[stage2]] files as standard input, and save standard output from the program into a PostScript file:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps > [[Media:bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
<br />
You may need to use "<tt>./muse2ps</tt>" instead of "<tt>muse2ps</tt>" in the above command if the ''muse2ps'' program file is in the current directory, but the current directory is not in your [http://en.wikipedia.org/wiki/PATH_%28variable%29 command search path]. The PostScript output can then be further processed in an external program. Usually it is more convenient to work with the data as a PDF file. The process of converting PostScript to PDF can be done by many methods. For example, Acrobat Distiller or Acrobat Professional will convert PostScript files into PDF files. There are online converters, such as this one: http://www.ps2pdf.com/convert.htm . And on most linux computers you can convert PostScript into PDF files using the [http://pages.cs.wisc.edu/~ghost/doc/gnu/5.50/Ps2pdf.htm ps2pdf] command:<br />
ps2pdf [[Media:Bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
This will create the file [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]] (replacing the .ps extension with a .pdf extention automatically when saving the PDF file). If you click on the PDF file link in the previous sentence, you should see the musical notation for J.S. Bach's Well-Tempered Clavier, Book I, Prelude 1 in C major.<br />
<br />
An alternate method of using ps2pdf to generate a PDF file in a single step in conjunction with ''muse2ps'' would be with this command-line construction:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps | ps2pdf - > [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]]<br />
<br />
=== Last system justification ===<br />
<br />
By default ''muse2ps'' does not right-justify the last system of the music on the last page of the output (as can be seen in [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]]). If you<br />
want to justify the last system, use the <tt>=j</tt> option as an argument to ''muse2ps'':<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =j | ps2pdf - > [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]<br />
The ''muse2ps'' (or more precisely, the internal [[mskpage]] component) will possibly adjust line breaks on one or more of the previous systems in the score in order to fill enough music onto the last system, and then stretch or contract the music on the last system to fit the width between margins exactly. The <tt>=j</tt> option can potentially take significantly more time to process the input data than when it is omitted. The reason for the increased processing time can be seen by comparing [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]] and [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]. In order to right-justify the last system of the music, all systems in the music were recursively re-typeset so that the first system in the music contains only three measures instead of four.<br />
<br />
=== Grand-Staff vertical spacing ===<br />
<br />
The distance between staves in the grand staff (which is used for instruments such as the piano) can be controlled by the =g option. An integer number follows after the letter "g" in the option which specifies the distance between the two staves in terms of 1/10ths of the distance between staff lines. The default value for this option is =g100 which means that the distance between the top line of each staff is 10 staff lines.<br />
<br />
Here is an example of reducing the spacing between the staves to nothing. The =g50 option in this case means that the distance between the top of each staff is 5 staff lines. And since this is the height of a single staff, there will be no space between the two staves:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =g50 | ps2pdf - > [[Media:bach-wtc1p01-g50.pdf|bach-wtc1p01-g50.pdf]]<br />
<br />
<br />
=== Single-staff spacing in a system ===<br />
<br />
A ''system'' is a collection of staves which represent different instruments playing at the same time. The distance between these staves can be controlled with the =v option. Following =v is a list of comma-separated integers (with no intervening spaces). The unit for these numbers is the same as in the =g option: 1/10th of the distance between successive staff lines.<br />
<br />
The default spacing between staves will depend on whether they are supposed to be barred together or not. Here is the default spacing for four staves of a string quartet:<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
=== Using multiple options ===<br />
<br />
In the previous examples, the prelude is printed on two pages, with a single orphan system occurring on the second page. One way to force the music to fit onto a single page is to set the top margin from 120 pixels to 0 pixels with the option <tt>=t0</tt> and the printable length on the page to 3000 pixels (10 inches) with the option <tt>=l3000</tt>. When supplying multiple optional settings to muse2ps, there is only one option string which starts with the equals character (<tt>=</tt>) and is followed by all options with no spaces. Here is an example of using the <tt>=t0</tt>, <tt>=l3000</tt> and <tt>=j</tt> options at the same time, resulting in a single page of music:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =jt0l3000 | ps2pdf - > [[Media:bach-wtc1p01-jt0l3000.pdf|bach-wtc1p01-jt0l3000.pdf]]<br />
The order of the options in the option string is not important, so for example, "<tt>=l3000t0j</tt>" would yield the same results as "<tt>=jt0l3000</tt>".<br />
<br />
Instead of adjusting the vertical margins with the <tt>=t</tt> and <tt>=l</tt> options, you can also decrease the spacing between staves globally on the system. To do this, use the =v option followed by a list of distances between each staff on the system. In this example there are two staves in each system, so one value is expected after "=v". If there were three or more staves, then the vertical spacing values are separated by commas (and no spaces).<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =v160jt300 | ps2pdf - > [[Media:bach-wtc1p01-v160jt300.pdf|bach-wtc1p01-v160jt300.pdf]]<br />
<br />
In the above example, "<tt>=v160</tt>" means make the spacing between staves on the system slightly more than 1/2 an inch; "<tt>=j</tt>" means to right-justify the last system of music; and "<tt>t300</tt>" means add an extra inch to the top margin (the default setting is "<tt>=t120</tt>".<br />
<br />
=== Music size ===<br />
<br />
The ''muse2ps'' program can typeset music in several sizes: 6, 14, 16, 18 and 21. These numbers refer to the pixel count (at 300 DPI) between successive staff lines. For example, here is a zoom-in of music typeset using the size 6 font, where each staff line is one pixel wide, and there are 5 pixels in the gap between lines, making each staff line spaced every 6 pixels and hence the name "size 6":<br />
<br />
<center><br />
[[File:Dmuse-size6.png|411px]]<br />
</center><br />
<br />
<br />
The default size that ''muse2ps'' will typeset music in is size 14. To display the music at other sizes, use the <tt>=z</tt> option followed by the size. Here is the example prelude printed in all sizes (with right-justification of the last system using <tt>=j</tt> also added to the option string):<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z6j&nbsp;&nbsp;| ps2pdf - > [[Media:bach-wtc1p01-z6j.pdf|bach-wtc1p01-z6j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z14j | ps2pdf - > [[Media:bach-wtc1p01-z14j.pdf|bach-wtc1p01-z14j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z16j | ps2pdf - > [[Media:bach-wtc1p01-z16j.pdf|bach-wtc1p01-z16j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z18j | ps2pdf - > [[Media:bach-wtc1p01-z18j.pdf|bach-wtc1p01-z18j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z21j | ps2pdf - > [[Media:bach-wtc1p01-z21j.pdf|bach-wtc1p01-z21j.pdf]]<br />
<br />
Full-scores are typically printed at size 14 (particularly scores with many parts). Parts for performers are typically printed at sizes 18 or 21. Piano music is typically printed at size 16, and Size 18 has dither on two-pixel wide staff lines. The approximate equivalents to point sizes in regular text (multiplying by the factor 72/300 and then multiplying by 3):<br />
<br />
<center><br />
{| class="wikitable" cellpadding="0" cellspacing="0" border="0"<br />
|- |- {{Style|table header}}<br />
! scope="col" align="left" | MuseData music size<br />
! scope="col" align="left" | Staff height (mm)<br />
! score="col" align="left" | Approximate text font size<br />
! score="col" align="left" | Musical application<br />
|-<br />
| 6 || 2.03 mm || 4 pt || none<br />
|-<br />
| 14 || 4.74 mm || 10 pt || full scores<br />
|-<br />
| 16 || 5.42 mm || 11.5 pt || piano music, vocal scores<br />
|-<br />
| 18 || 6.10 mm || 13 pt || instrumental parts<br />
|-<br />
| 21 || 7.11 mm || 15 pt || large-size instrumental parts<br />
|}<br />
</center><br />
<br />
=== Extracting MPG intermediate data ===<br />
<br />
When a MuseData [[stage2]] file is converted into graphical music notation as PostScript output from ''muse2ps'', it will pass through two data transformation steps. The first step is a conversion from [[stage2]] data into non-page-specific [[i-files]] which is accomplished with the [[autoset]] component. Then these "non-page-specific" [[i-files]] are converted into "page-specific" [[page files|i-files]] (or Music Page (MPG) files) which describe the precise position of musical elements on each page of typeset music. This [[music page]] data can be extracted from the program surreptitiously by using the "=P" option. This will cause the [[MPG]] data to be embedded in comments within the PostScript output. Each page of MPG data will be stored in a sequence of comments starting with "<tt>%=BeginMPGData: 1</tt>", where <tt>1</tt> is the data for page one. And each page of MPG data is ended by the comment <tt>"%=EndMPGData: 1"</tt>.<br />
<br />
All MuseData/dmuse related comments in the PostScript output start with the comment marker "%=", so the MPG data can easily be separated from the PostScript content and other irrelevant comments in a manner such as this:<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =P | grep "^%=" > [[Media:Mpg-comments.txt|mpg-comments.txt]]<br />
The [[regular expression]] search string "<tt>^%=</tt>" used in the [http://en.wikipedia.org/wiki/Grep grep] command means extract lines from the input which start with the two characters "<tt>%=</tt>".<br />
<br />
A PERL utility program, called [[Media:unpackmpg.pl|unpackmpg]], for extracting the MPG data from the comments is included with the source code for ''muse2ps'':<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =Pg85jt200l3000 | [[Media:unpackmpg.pl|unpackmpg]] > [[Media:Mpg-comments.mpg|mpg-comments.mpg]]<br />
In the above command the options mean:<br />
* <tt>=P</tt>: Output [[music page]] data.<br />
* <tt>=g85</tt>: Set the distance between the staves in the grand staff to 8.5 staff lines (default is 100, or 10 staff lines).<br />
* <tt>=j</tt>: Right-justify the last system of the music.<br />
* <tt>=t200</tt>: Set the top margin to 2/3 of a inch below the base position.<br />
* <tt>=l3000</tt>: Set the vertical printable region to 10 inches.<br />
<br />
=== Inputting MPG data (adding a title) ===<br />
<br />
The extracted [[music page]] data from the previous section can be edited (such as to add a title) and then can be reprocessed by ''muse2ps'' to generate PostScript output:<br />
cat [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] | muse2ps =p | ps2pdf - > [[Media:Bach-wtc1p01-title.pdf|bach-wtc1p01-title.pdf]]<br />
<br />
In this case the file [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] is the equivalent to the MPG data generated by ''muse2ps'' in the previous section: [[Media:Mpg-comments.mpg|mpg-comments.mpg]], but with these three lines added to generate a title for the first page:<br />
<br />
<pre><br />
X 14<br />
X 46 1200C 0 Well-Tempered Clavier, Book I, Prelude 1 in C major<br />
X 37 1200C 50 BWV 846<br />
</pre><br />
<br />
The first line sets the font indexes relative to music size 14. The second line places the line at "1200C 0" which means center the line horizontally at location 1200 (4 inches from the left margin), and position the line vertically at position 0 (0 inches below the top margin).<br />
<br />
[[Music page]] data for many of the score on http://www.musedata.org are available as both [[stage2]] files and [[music page]] files. Using the [[music page]] files as input to ''muse2ps'' will generate better graphical notation results, since the automatically typeset data from the [[stage2]] files has been proofread and adjusted by a human.<br />
<br />
== Options ==<br />
<br />
Below is a list of the options which muse2ps understands. Options are given<br />
as the first (and only) argument to the program, starting with an equals sign (=), then followed by the options in any order, with no spaces between the options. For example, to set the music size to 18 and right-justify the last system on the last page, use the option string =z21j:<br />
cat file.md2 | muse2ps =z21j > file.ps<br />
When using characters which may be parsed by the command-line interpreter, you will have to enclose the option string in single quotes (you can do this all of the time if you are uncertain of the conditions in which they would be required):<br />
cat file.md2 | muse2ps '=z21js^{(..}}^T^title^' | ps2pdf - > file.pdf<br />
<br />
In option strings such as "=c<#>", replace <#> with an integer. <tt>[#]</tt> indicates an optional number.<br />
<br />
{|class="wikitable" cellpadding="0" cellspacing="0" border="0" style="width:100%"<br />
|- {{Style|table header}}<br />
! scope="col" width="100px" align="center"| muse2ps option index<br />
|-<br />
| <div style="column-count:3;-moz-column-count:3;-webkit-column-count:3"><br />
* {{nowrap|{{mopt|c}} compression}}<br />
* {{nowrap|{{mopt|C}} composer}}<br />
* {{nowrap|{{mopt|d}} diagnostics}}<br />
* {{nowrap|{{mopt|D}} dash spacing}}<br />
* {{nowrap|{{mopt|E}} eof insertion}}<br />
* {{nowrap|{{mopt|f}} fill by staff}}<br />
* {{nowrap|{{mopt|F}} fill by system}}<br />
* {{nowrap|{{mopt|g}} grand staff spacing}}<br />
* {{nowrap|{{mopt|G}} group selection}}<br />
* {{nowrap|{{mopt|h}} note space}}<br />
* {{nowrap|{{mopt|i}} indentation flag}}<br />
* {{nowrap|{{mopt|I}} indentation amount}}<br />
* {{nowrap|{{mopt|j}} justification}}<br />
* {{nowrap|{{mopt|k}} display options}}<br />
* {{nowrap|{{mopt|l}} page length}}<br />
* {{nowrap|{{mopt|m}} left margin}}<br />
* {{nowrap|{{mopt|M}} embed stage2 data}}<br />
* {{nowrap|{{mopt|n}} number of systems}}<br />
* {{nowrap|{{mopt|p}} page files input}}<br />
* {{nowrap|{{mopt|P}} embed page files}}<br />
* {{nowrap|{{mopt|Q}} minimum distance duration}}<br />
* {{nowrap|{{mopt|s}} system spine}}<br />
* {{nowrap|{{mopt|S}} title/system space}}<br />
* {{nowrap|{{mopt|t}} top margin}}<br />
* {{nowrap|{{mopt|T}} title}}<br />
* {{nowrap|{{mopt|u}} subtitle}}<br />
* {{nowrap|{{mopt|v}} staff spacing}}<br />
* {{nowrap|{{mopt|w}} system width}}<br />
* {{nowrap|{{mopt|W}} thin barlines}}<br />
* {{nowrap|{{mopt|x}} no suggestions}}<br />
* {{nowrap|{{mopt|X}} no last barline}}<br />
* {{nowrap|{{mopt|y}} no line controls}}<br />
* {{nowrap|{{mopt|Y}} no initial time signature}}<br />
* {{nowrap|{{mopt|z}} music size}}<br />
</div><br />
|}<br />
<br><br />
<br />
See also the Dmuse text file [[Media:muse2ps-options.dm | options.dm]], or the HTML equivalent [[Media:muse2ps-options.html| options.html]] for a brief description of each option.<br />
<br />
{| style="background-color:white" cellpadding="4"<br />
|- valign="top"<br />
| {{anchor|c_option}}<b>=c</b><#>|| Compression factor: This is measured as a percentage of the default. 100 = no compression (100%). Use smaller values to decrease the spacing between notes (allowing fewer pages in the score). Values larger than 100 will expand the distance between notes (increasing the number of pages in the score). This option is useful to force the last system of music to occur at the bottom of a page.<br />
<br />
|- valign="top"<br />
|{{anchor|C_option}}<b>=C</b>^string^ || Display the ''string'' as the composer's name at the top right side of the first page. See <b>=T</b> for the title, and <b>=u</b> for the sub-title. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|d_option}}<b>=d</b><#> || Diagnostics and Error Messages.<br />
bit 0 of #: ON = print error messages<br />
bit 1 of #: ON = print all diagnostics<br />
bit 2 of #: ON = print diagnostics from autoset<br />
bit 3 of #: ON = print diagnostics from mskpage<br />
bit 4 of #: ON = print diagnostics from pspage<br />
no number = 0x01: print error messages<br />
For example, =d31 turns on all error message toggles. This option is useful if the output PostScript data from muse2ps is empty. The messages go to standard error, while the PostScript data goes to standard output. Therefore, you can print the error messages and still save or pipe the PostScript data without the error messages mixing with the output data.<br />
<br />
|- valign="top"<br />
| {{anchor|D_option}}<b>=D</b> || spacing between dashes. Will override spacing in stage2 files: 0 = use default, >0 = space between dashes (units are dash-length)<br />
<br />
|- valign="top"<br />
| {{anchor|E_option}}<b>=E</b> || <tt>/END</tt> = <tt>/eof</tt>. The muse2ps program allows for multiple parts to be entered from standard input in a single stream of data. Normally the data files representing each part are separated from each other by a line containing only "<tt>/eof</tt>" (lowercase; meaning "End of File"). Separate MuseData [[stage2]] files do not typically end in "<tt>/eof</tt>", but rather, they are required to contain the line "<tt>/END</tt>" (uppercase) to indicate the end of the data. After "<tt>/END</tt>", any textual comments are allowed. With the =E option, you do not need to separate files by "<tt>/eof</tt>", and instead, the next file in the sequence will start on the line coming after "<tt>/END</tt>". Note, however, that you cannot use the =E option if there is any commentary after "<tt>/END</tt>" in a file.<br />
<br />
|- valign="top"<br />
| {{anchor|f_option}}<b>=f</b> || Fill pages to the bottom by proportionally stretching all spacings. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|F_option}}<b>=F</b> || Fill pages to the bottom by adding to the intersystem space only. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|g_option}}<b>=g</b><#>|| Grand staff intra-space measured in multiples of ledger lines times 10. The default is 100, which is 10 ledger lines. Note that this distance reference is different from the =v values which define the distance from the top of one staff to the top of the next staff. For the =g, option, the distance is from the bottom of the top staff to the top of the bottom staff.<br />
<br />
|- valign="top"<br />
| {{anchor|G_option}}<b>=G</b>^group-name^ || Group name to process. The default is "score". Available groups are found on data line 11 at the top of each MuseData [[stage2]] file (excluding any single- or multi-line comments). Other possibilities might be "part" or "data".<br />
<br />
|- valign="top"<br />
| {{anchor|h_option}}<b>=h</b><#> || Alter the minimum allowed space between notes. This is measured as a percentage of the default. 100 = no change (100%).<br />
<br />
|- valign="top"<br />
|{{anchor|i_option}}<b>=i</b><#> || Initial system indentation options flag.<br />
* 0 = use program defaults (set indentation with <tt>=I</tt> option).<br />
* 1 = no indentation of first system of music<br />
* 2 = indent first system, and after every forced system break.<br />
<br />
|- valign="top"<br />
| {{anchor|I_option}}<b>=I</b><#> || Specify the indentation amount for the first system in the music. If zero, then default indentation amount will be used. (see the <tt>=i</tt> option for turning off indentation).<br />
<br />
|- valign="top"<br />
|{{anchor|j_option}}<b>=j</b> || Right-justify the last system of the music so that it extends all of the way across the page. The default is NOT to right justify. Right-justification is a recursive process where measures from previous systems may be moved ahead in the score to cause all systems to have approximately the same note density.<br />
<br />
|- valign="top"<br />
| {{anchor|k_option}}<b>=k</b>^0x<tt>#</tt>^ || Display alternative options. Options are stored in a hexadecimal number prefixed with the string "<tt>0x</tt>" (C program-styled hex number). The default values are the 0 bit settings. The meaning of the bits in the hexadecimal number are (from least significant to most significant bit):<br />
<br />
<table cellpadding=0 cellspacing=0><br />
<tr valign=baseline><th>bit</th><td width=1></td><th>meaning</th></tr><br />
<br />
<tr valign=baseline><td>0</td><td></td><td><br />
<b>k-option activation flag</b><br />
* 1: <i>k</i> option is active, read options in more significant bits.<br />
* 0: <i>k</i> option is inactive. Used to turn off this option as a command-line over-ride.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>1</td><td></td><td><br />
<b>Sforzando/rfz flag</b><br />
* 0: display sforzando as sf (rf).<br />
* 1: display sforzando as sfz (rfz).<br />
</td></tr><br />
<br />
<tr valign=baseline><td>2</td><td></td><td><br />
<b>Sub-edit flag</b><br />
* 0: display editorial markup differently from regular data (such as adding brackets around editorial elements).<br />
* 1: do not display editorial data differently from regular data.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>3</td><td></td><td><br />
<b>No-editorial flag</b><br />
* 0: display editorial markup data.<br />
* 1: do not display editorial markup data.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>4</td><td></td><td><br />
<b> Editorial markup in Roman font flag</b><br />
* 0: use cue-size music fonts for editorial marks.<br />
* 1: use Times-Roan font for editorial marks: tr, dynamics.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>5</td><td></td><td><br />
<b>Ligature flag</b><br />
* 0: do not use ligatures in text.<br />
* 1: use ligatures for "ffl", "ffi", "ff", "fl", and "fi".<br />
</td></tr><br />
<br />
<tr valign=baseline><td>6</td><td></td><td><br />
<b>Figured harmony flag</b><br />
* 0: place figured harmony (figured bass) below the staff.<br />
* 1: place figured harmony (figured bass) above the staff.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>7</td><td></td><td><br />
<b> mheavy4 barline style flag</b><br />
* 0: mheavy4 barline represented by two heavy lines.<br />
* 1: mheavy4 barline represented by one thin, one thick, and then another thin line.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>8</td><td></td><td><br />
<b>Multi-voice augmentation dot option</b><br />
* 0: allow overstrike of dots in different voices.<br />
* 1: do not allow overstrike.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>9</td><td></td><td><br />
<b>New key signatures option</b><br />
* 0: don't print a new key signature if it is the same as the previous one on the staff.<br />
* 1: print a new key signature even if it repeats the previous key signature on the staff.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>10</td><td></td><td><br />
<b>Mixed duration chords</b><br />
* 0: don't allow a mixture of white and black notes in chords.<br />
* 1: allow mixture of white and black notes in chords.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>11</td><td></td><td><br />
<b>Suppress key signature flag </b><br />
* 0: display key signatures.<br />
* 1: suppress printing of the key signature (such as for timpani parts).<br />
</td></tr><br />
<br />
<tr valign=baseline><td>12</td><td></td><td><br />
<b>Editorial slurs flag</b><br />
* 0: all slurs are regular.<br />
* 1: <tt>{ }</tt> and <tt>z x</tt> slurs are editorial slurs (dashed slurs).<br />
</td></tr><br />
<br />
<tr valign=baseline><td>13</td><td></td><td><br />
<b>New clef sign flag </b><br />
* 0: large clefs at start of system, cue-size clefs for clef changes.<br />
* 1: always use large clefs.<br />
</td></tr><br />
<br />
</table><br />
<br />
|- valign="top"<br />
| {{anchor|l_option}}<b>=l</b><#>|| Length of a page. Distance is measured dots, at 300 dots to the inch. Default is 2740 dots. The default starting height is 120 dots. This will not be lowered, but may be raised to accommodate a longer page.<br />
<br />
|- valign="top"<br />
| {{anchor|m_option}}<b>=m</b><#> || Left margin, measured in at 300 dots/inch. The default is 200 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|M_option}}<b>=M</b> || Include the contents of the MuseData source files in the trailer section of the file embedded in PostScript comments (if MuseData [[stage2]] files are used as input.<br />
<br />
|- valign="top"<br />
| {{anchor|n_option}}<b>=n</b><#> || Maximum number of systems on a page. The default is no maximum.<br />
<br />
|- valign="top"<br />
| {{anchor|p_option}}<b>=p</b> || The source is a concatenated set of page specific i-files (also called .mpg files), not a set of MuseData files.<br />
<br />
|- valign="top"<br />
| {{anchor|P_option}}<b>=P</b> || Include listings of the page specific i-files, which are the source of the output PostScript data. Each page is separated.<br />
<br />
|- valign="top"<br />
| {{anchor|Q_option}}<b>=Q</b><#> || Duration which is assigned the minimum distance.<br />
1 = whole notes<br />
... . . .<br />
8 = eighth notes<br />
16 = sixteenth notes, etc.<br />
<br />
|- valign="top"<br />
| {{anchor|s_option}}<b>=s</b>^string^ || Custom left-hand spine. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=s^[(....)][(..)](.)[({..}..)]^<br />
Each dot in the system bracketing string represents one part, with the first dot in the string representing the top staff of the system. If a grand staff is used for any part, then use the colon character (:) for that part. Staves which should be bracketed together are enclosed in square brackets: <tt>[]</tt>. Staves which should be braced together are enclosed in curly braces: <tt>{}</tt>. Staves which should be barred together (barlines connecting between staves) are enclosed in parentheses: <tt>()</tt>. The caret character (^) is used to mark the start and top of the option string. Subsequent options occur immediately after the second caret character with no intervening space.<br />
<br />
|- valign="top"<br />
| {{anchor|S_option}}<b>=S</b><#> || Add extra space between the title and the first system of music: 0 = use default, >0 = lower the first system (units are 1/300th of an inch).<br />
<br />
|- valign="top"<br />
|{{anchor|t_option}}<b>=t</b><#> || Top of page. Default is 120 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|T_option}}<b>=T</b>^string^ || Display the ''string'' as a title at the top of the (first) page. See <b>=u</b> for sub-title, and <b>=C</b> for composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|u_option}}<b>=u</b>^string^ || Display the ''string'' as a sub-title at the top of the (first) page. See <b>=T</b> for the title, and <b>=C</b> for the composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|v_option}}<b>=v</b><#,#,#...#> || Custom spacings. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=v192,192,192,208,192,208,176,176,176,200<br />
The above example setting for the =v option can be used for a system with 8 parts (such as 4 woodwinds, 2 horns, and 4 string instruments). The first seven values describe the spacing between each staff in the system, and the last value is the spacing between systems on the page. The spacing between staves and systems is constant with muse2ps. The spacing values are 1/10th of the distance between two staff lines, and the spacing value is the distance from the top of one staff to the top of the next staff (or the top of the last staff on a system to the top of the staff on the next system for the last value in the list). See the <tt>=g</tt> option for spacing the staves of a grand staff (such as for piano music). When a grand staff is part of a system with more parts, then the distance between the grand staff and the next system is the distance between the top of the bottom staff of the grand-staff pair and the top of the next staff.<br />
<br />
|- valign="top"<br />
| {{anchor|w_option}}<b>=w</b><#> || System width, measured in at 300 dots/inch. The default is 2050 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|W_option}}<b>=W</b>[#] || Thin barline flag. 0 = use regular barlines. 1 = use thin barlines. No number after <tt>=W</tt> means the same as <tt>=W0</tt>.<br />
<br />
|- valign="top"<br />
| {{anchor|x_option}}<b>=x</b> || Defeat all part inclusion suggestions in the data<br />
<br />
|- valign="top"<br />
| {{anchor|X_option}}<b>=X</b>[#] || Leave off the last barline (for short examples). 0 = print last bar, 1 = don't print last bar, <tt>=X</tt> without a number is equivalent to <tt>=X1</tt>. Note: you can add extra staff-line space in the last bar by putting in <tt>irest</tt>s, but you must put <tt>irest</tt>s in all parts, and they must all represent the same note-type (duration). Note also: If the last barline is anything but a regular measure line, it will continue to print.<br />
<br />
|- valign="top"<br />
|{{anchor|y_option}}<b>=y</b> || Defeat all line control suggestions in the data.<br />
<br />
|- valign="top"<br />
|{{anchor|Y_option}}<b>=Y</b><#> || Suppress printing first time signature in score. Used for printing small examples which have a time signature in the data, but none desired in graphical notation. You can also use a time signature in the data of "<tt>T:9/0</tt>" to generate a <i>hidden</i> time signature, and not giving a time signature at the start of a file will result in not time signature being printed. 0 = print initial time signatures (used to override options embedded in data). 1 = suppress first time signature (<tt>=Y</tt> is equivalent to <tt>=Y1</tt>).<br />
<br />
|- valign="top"<br />
| {{anchor|z_option}}<b>=z</b><#> || Music size: choices are 6,14,16,18,21. 14 is the default. This value describes the distance between staff lines in units of 300 dots per inch.<br />
<br />
|}<br />
<br />
== Multi-file input specification ==<br />
<br />
Normally individual MuseData [[stage2]] files contain a single part. These part files are concatenated together and sent via standard input into the muse2ps program. In order for the muse2ps program to be able to segment the separate part files from the original stream the marked "<tt>/eof</tt>" is added after the last line in each file, and the marker "<tt>//</tt>" is ''required'' after the end of all datafile input into muse2ps. <br />
<br />
Typically the last line of a [[stage2]] MuseData file consists of the string "<tt>/END</tt>" (in uppercase), so add the line "<tt>/eof</tt>" (in lowercase) after it: <br />
/END<br />
/eof<br />
<br />
The very last three lines of input to muse2ps should should look like this:<br />
<br />
/END<br />
/eof<br />
//<br />
<br />
If you specify the =E option when running muse2ps, the "<tt>/END</tt>" markers will be used to segment the separate part files internally.<br />
<br />
The PERL script [[Media:collatemd2.pl|collatemd2]] (included with the source code to muse2ps) can be used to concatenate multiple [[stage2]] part files into a single input stream for muse2ps. The output of the PERL script can be saved to a file for later processing with muse2ps. In this case the recommended file extension for the multi-file MuseData content is <b>.md2</b> . Here are example uses of [[Media:collatemd2.pl|collatemd2]]:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
You many have to type "<tt>./collatemd2</tt>" instead of "<tt>collatemd2</tt>" if the perl program is in the current directory and the current directory is not in the command search path. If you download the program from this page, remove the .pl extension when saving (and use a lower-case first letter for the filename). You may have to set the permissions to allow it to be run as a program with the unix command: <tt>chmod 0755 collatemd2</tt>.<br />
<br />
Alternatively, you can save the output from [[Media:collatemd2.pl|collatemd2]] into a file for later use with muse2ps:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] > [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]]<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
When downloading MuseData [[stage2]] files from http://www.musedata.org , the parts are all combined into a single multi-file MuseData file which is the equivalent to the output from [[Media:collatemd2.pl|collatemd2]].<br />
<br />
=== Multiple Music Page files ===<br />
<br />
When concatenating multiple Music Page (MPG) files, separate each file's content with a line with the single capital letter "P" on it. Example of how to do this on the command line, creating a PDF file:<br />
<br />
<source lang="bash"><br />
for i in ??<br />
do<br />
cat $i<br />
echo P<br />
done | muse2ps =p | ps2pdf - - > output.pdf<br />
</source><br />
<br />
N.B.: Probably two slashes also need to be added at the end of the last page; otherwise, it will not print:<br />
<br />
//<br />
<br />
== Color highlighting ==<br />
<br />
A soon-to-be released update of muse2ps will allow for coloring of notes in the score. This colorization can be used in conjunction with displaying search results, or highlighting notes in an example. <br />
<br />
If you place an "R" character in column 14 for note (or rest) records, That note will be highlighted red. A capital "R" will also highlight the stem of the note, while a lower case "r" will color only the notehead. If multiple colored notes all share a common beam, then that beam is also highlighted.<br />
<br />
The letter "B" can be used in column 14 to color notes blue, and the letter "G" can be used to color notes green. The lowercase versions "r" and "g" can be used to color only the noteheads and not the stems.<br />
<br />
== Embedded options ==<br />
<br />
The <i>muse2ps</i> program can read options sent in the input data stream. Options can be embedded in the input data as single-line comments. In [[stage2]] files, single-line comments start with an at-sign (<tt>@</tt>) in the first column of the line. Following the comment marker comes an option identification string "<tt>muse2psv1</tt>", with "<tt>v1</tt>" being the option version level (currently level 1, and can be used in the future to keep options backwards and forwards compatible. Default options, listed in the previous section describing the options, can be overridden by using the default option setting method which adds two equal signs in a row, followed by any options. Multiple default option <br />
comments may occur to prevent the length of the line from getting too long (it is a good idea to limit the length of the line for full backwards compatibility with dmuse and [[stage2]] files, although the current line limit in dmuse/muse2ps is 900 characters).<br />
<br />
Option for specific music sizes can be set by placing the size option between the two equals signs in the option comment. Here is an example option comment header:<br />
<br />
@muse2psv1==z18<br />
@muse2psv1==T^Bach Chorale^u^bwv-277^C^J.S. Bach (1685-1750)^<br />
@muse2psv1=z14=v200,155,155,155j<br />
@muse2psv1=z18=v240,195,195,195j<br />
@muse2psv1=z21=v300,230,230,230j<br />
<br />
The first two lines are default option settings for all music sizes. The first line sets the default music size to 18 if no size is given on the command line to muse2ps. The second line sets the title, subtitle, and composer fields on the title page. The last three lines set the vertical spacing between staves at various music sizes; the first for size 14, then size 18, and the last line for size 21.<br />
<br />
== ps2pdf options ==<br />
<br />
The default behavior of the ps2pdf program is to assume that the input data is formatted for A4 paper. The default output size for muse2ps is US letter. In order for ps2pdf to generate output pages with the correct dimensions, add the option <tt>-sPAPERSIZE=letter</tt> as an argument to the program:<br />
ps2pdf -sPAPERSIZE=letter<br />
<br />
Another pair of useful options (not needed for output from muse2ps, but useful when adding footers at later states in data program) embed the fonts used in the file:<br />
ps2pdf -sPAPERSIZE=letter -dCompatibilityLevel=1.4 -dPDFSETTINGS=/prepress<br />
<br />
For example the Symbol font is not present on the Apple iPad PDF viewer. When using the options in this example, the Symbol font (or the portion used) would be embedded in the file and therefore viewable on an iPad.<br />
<br />
== Creating images ==<br />
<br />
Graphical images can be created in various ways. A good method is to convert PostScript output from muse2ps to a bitmap image with the unix command-line program pstopnm. For smaller examples and converting to other images formtas, Imagemagick's convert is another command-line which is useful. Both pstopnm and convert are often pre-installed on linux computers, and both are available for free on the internet. They should also work with OS X, and can be used in MS Windows using [http://www.cygwin.com cygwin].<br />
<br />
To create an image pipe the output from muse2ps into pstopnm, and convert to a bitmapped image at 300 dots per inch. Next pipe the resulting image to convert for further processing. In the following example, the image is first trimmed from a full page to just the area which contains the printed music, then the image is resized to 33% of the original size for use on the web, and saved into a PNG file.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -resize '33%' [[Media:scale.png|scale.png]]<br />
<br />
=== Transparent background ===<br />
<br />
Use the options <tt>-negate -alpha copy -negate</tt> to make the background of the image transparent so that it can be displayed on any background color. Here is the example image which was just created with the above command:<br />
<br />
[[Image:scale.png]]<br />
<br />
Notice that the background color of the image is white, which becomes noticeable when placing the image on a non-white background color. Now create an image with a transparent background:<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -negate -alpha copy -negate \<br />
-resize '33%' [[Media:scale-transparent.png|scale.png]]<br />
<center><br />
<table cellspacing=0 cellpadding=3><tr bgcolor=#ffffff><td bgcolor=#4499aa><br />
[[Image:scale-transparent.png]]<br />
</td><td width=10><br />
<td bgcolor=#ffaa44>[[Image:scale-transparent.png]]<br />
</td></tr></table></center><br />
<br />
<br />
=== Images for printed publications ===<br />
<br />
To insert musical examples in a Microsoft or similar word processing program, do not resize the image, but leave it at the 300 dots per inch size of the original. Then you can rescale the image in the word processor as necessary. This will optimize the quality of the image in the final printout from the word processor.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim [[Media:scale-large.png|scale.png]]<br />
<br />
== Humdrum interface ==<br />
<br />
The muse2ps program can be used in conjunction with the [http://extra.humdrum.org/man/hum2muse hum2muse] program. Here is an example of how to create graphical music notation using the following Humdrum data as an example:<br />
<br />
<table cellspacing=0><tr bgcolor=white valign=top><td><htmlet>beethoven-kern</htmlet></td><br />
<td width=10></td><br />
<td> <br />
<pre><br />
hum2muse file.krn | muse2ps \<br />
| ps2pdf - - > file.png<br />
</pre><br />
[[Image:beethoven-kern.png]] <br />
<br><br />
<br><br />
<br><br />
</td><br />
</tr><br />
</table><br />
<br />
Images can be generated from Humdrum data online by pasting/typing data into the [http://kern.humdrum.org/cgi-bin/kern/kseditor Humdrum online editor]. For example, copy and paste the above Humdrum data into the left black box on the Humdrum online editor page, and the click on the red "Generate" button to produce an image of the graphical music using the default settings.<br />
<br />
Here is the intermediate MuseData which is passed between [http://extra.humdrum.org/man/hum2muse hum2muse] and muse2ps: [[Media:beethoven-kern.md2 | beethoven.md2]]. Try copying / pasting<br />
this data into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in the same music notation as seen above.<br />
<br />
== Zbex programs ==<br />
<br />
In the muse2ps source code directory, the sub-directory <tt>zprogs</tt> contains the [[zbex]] programs used to generate the file zfun32.c. Most necessary files needed to create [http://www.ccarh.org/software/muse2ps/muse2ps/zfun32.c zfun32.c] are in that directory, but perhaps not all of them. These programs are not used directly by muse2ps, but are compiled into zbex executable code within zfun32.c. The muse2ps is essentially a non-interactive version of [[dmuse]] (see http://dmuse.ccarh.org). The [[dmuse]] program is a text editor which also has a built-in [[zbex]] language interpreter and graphical music display capabilities. The interpreter portion of [[dmuse]] has been extracted for non-interactive use in muse2ps.<br />
<br />
== Examples == <br />
<br />
Further examples of MuseData [[stage2]] files converted into graphical music notation with muse2ps can be found on the [[MuseData examples]] page.<br />
<br />
== Feature requests and bug reports ==<br />
<br />
See the page: [[Muse2ps feature requests and bug reports]].</div>Edchttps://wiki.ccarh.org/index.php?title=Muse2ps&diff=10504Muse2ps2021-03-30T15:25:42Z<p>Edc: /* Options */</p>
<hr />
<div>__TOC__<br />
<br />
== Overview == <br />
<br />
The <b>muse2ps</b> program is a command-line version of the [[autoset]], [[mskpage]] and [[pspage]] programs which are usually run within the [[dmuse]] editor using the built-in [[zbex language]] interpreter. The ''muse2ps'' program reads MuseData [[stage2]] data or [[page file]] data from standard input and converts them into PostScript data representing graphical musical notation which is sent to standard output. The following diagram illustrates the flow of data through ''muse2ps'':<br />
<br />
<br />
<center><br />
[[File:muse2ps-dataflow.svg]]<br />
</center><br />
<br />
The ''muse2ps'' program can accept two forms of input. By default, the ''muse2ps'' program will read multi-file [[stage2]] data from standard input. MuseData [[stage2]] files contain primarily symbolic musical data with possibly a little bit of formatting information (such as system and page breaks). The ''muse2ps'' program will format this symbolic music internally into [[page files]] which give explicit information about the placement of notes, slurs, beams, dynamics, lyrics, ''etc.'' on each page of music.<br />
<br />
Alternatively, if the <tt>=p</tt> option is given as an [[argument]] to ''muse2ps'', the program can read multi-file [[page files]] directly from standard input. Typically, [[stage2]] files are converted automatically into [[pages files]] and then further processing is done on these [[page files]] in order to produce a final typeset score of the graphical music notation. For example, the [[vskpage]] is used to refine the vertical spacing of staves and systems on a page of music within [[page files]], and [[eskpage]] is used to interactively edit the position of graphical elements within [[page files]].<br />
<br />
The only output from ''muse2ps'' (besides error messages) is PostScript data which describes the graphical music notation in a printable score of the music. This data can be further processed, such as sending directly to a PostScript printer, or converting into PDF files for web distrubution of the notated music. The representation of music notation within the PostScript file is in the form of bit-mapped musical fonts. The musical fonts are designed for use with 300 DPI resolution printers when printed at the native resolution (originally these fonts were designed for [http://en.wikipedia.org/wiki/Printer_Command_Language PCL-based printers]). These fonts have the unique feature of [http://en.wikipedia.org/wiki/Dither dithered] edges on sloped beams to minimize the visual effect of pixel stepping at 300 DPI resolution. Minor notation editing can be done on the PostScript/PDF files in programs such as Adobe Illustrator. If you print via PDF files, you may want to uncheck the page-scaling option in the printing program in order to avoid aliasing artifacts in the hard copy due to changing the intended size of the music on the page. <br />
<br />
Two other forms of data can be embedded within the PostScript output. If the <tt>=M</tt> option is given as an [[argument]] to the ''muse2ps'' program, then the original [[stage2]] data will be stored within comments in the PostScript data. Likewise, if the <tt>=P</tt> option is given, the [[page file]] data will be included in the PostScript output as comments. The [[page file]] data will either come from automatic generation using [[autoset]]/[[mskpage]], or from standard input if you use the <tt>=p</tt> option.<br />
<br />
There are also numerous options which primarily deal with the formatting of [[stage2]] files with the [[autoset]] and [[mskpage]] program components. See the [[#Options| options]] section below for a complete list of the options.<br />
<br />
== Download ==<br />
<br />
The ''muse2ps'' program executables for various operating systems or the source code can be downloaded from the following table. <b>Instructions for setting up the program for use can be found ''[[Muse2ps_installation_instructions| here]]''.</b><br />
<br />
<br />
<center><br />
{{muse2psdownloadtable}}<br />
</center><br />
<br />
== Online ==<br />
<br />
The ''muse2ps'' program can be run online at http://www.musedata.org/mdconverter . If you click on [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icons next to data found on the http://www.musedata.org website, the musical data will be loaded into this online converter from which PostScript, PDF, or PNG images of the music can be generated. <br />
<br />
For example, click on the [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icon on the information page for this [http://www.musedata.org/encodings/bach/bg/chorals/0428/ Bach chorale], then click on the {{keypress|Submit}} button on the converter page to generate a PDF file of the chorale with the default settings. Then try setting some options, such as using "<tt>[(.)(.)(.)(.)]</tt>" for the <b>System spine</b> option to prevent barlines from being drawn between staves in the score.<br />
<br />
You can create your own MuseData content and print with the online converter as well. Copy and paste the following MuseData content: [[Media:beethoven-kern.md2 | beethoven.md2]] into into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in this graphical music notation:<br />
<center><br />
[[Image:beethoven-kern.png]]<br />
</center><br />
<br />
== Command-line examples ==<br />
<br />
The simplest use of ''muse2ps'' is to send it MuseData [[stage2]] files as standard input, and save standard output from the program into a PostScript file:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps > [[Media:bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
<br />
You may need to use "<tt>./muse2ps</tt>" instead of "<tt>muse2ps</tt>" in the above command if the ''muse2ps'' program file is in the current directory, but the current directory is not in your [http://en.wikipedia.org/wiki/PATH_%28variable%29 command search path]. The PostScript output can then be further processed in an external program. Usually it is more convenient to work with the data as a PDF file. The process of converting PostScript to PDF can be done by many methods. For example, Acrobat Distiller or Acrobat Professional will convert PostScript files into PDF files. There are online converters, such as this one: http://www.ps2pdf.com/convert.htm . And on most linux computers you can convert PostScript into PDF files using the [http://pages.cs.wisc.edu/~ghost/doc/gnu/5.50/Ps2pdf.htm ps2pdf] command:<br />
ps2pdf [[Media:Bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
This will create the file [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]] (replacing the .ps extension with a .pdf extention automatically when saving the PDF file). If you click on the PDF file link in the previous sentence, you should see the musical notation for J.S. Bach's Well-Tempered Clavier, Book I, Prelude 1 in C major.<br />
<br />
An alternate method of using ps2pdf to generate a PDF file in a single step in conjunction with ''muse2ps'' would be with this command-line construction:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps | ps2pdf - > [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]]<br />
<br />
=== Last system justification ===<br />
<br />
By default ''muse2ps'' does not right-justify the last system of the music on the last page of the output (as can be seen in [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]]). If you<br />
want to justify the last system, use the <tt>=j</tt> option as an argument to ''muse2ps'':<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =j | ps2pdf - > [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]<br />
The ''muse2ps'' (or more precisely, the internal [[mskpage]] component) will possibly adjust line breaks on one or more of the previous systems in the score in order to fill enough music onto the last system, and then stretch or contract the music on the last system to fit the width between margins exactly. The <tt>=j</tt> option can potentially take significantly more time to process the input data than when it is omitted. The reason for the increased processing time can be seen by comparing [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]] and [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]. In order to right-justify the last system of the music, all systems in the music were recursively re-typeset so that the first system in the music contains only three measures instead of four.<br />
<br />
=== Grand-Staff vertical spacing ===<br />
<br />
The distance between staves in the grand staff (which is used for instruments such as the piano) can be controlled by the =g option. An integer number follows after the letter "g" in the option which specifies the distance between the two staves in terms of 1/10ths of the distance between staff lines. The default value for this option is =g100 which means that the distance between the top line of each staff is 10 staff lines.<br />
<br />
Here is an example of reducing the spacing between the staves to nothing. The =g50 option in this case means that the distance between the top of each staff is 5 staff lines. And since this is the height of a single staff, there will be no space between the two staves:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =g50 | ps2pdf - > [[Media:bach-wtc1p01-g50.pdf|bach-wtc1p01-g50.pdf]]<br />
<br />
<br />
=== Single-staff spacing in a system ===<br />
<br />
A ''system'' is a collection of staves which represent different instruments playing at the same time. The distance between these staves can be controlled with the =v option. Following =v is a list of comma-separated integers (with no intervening spaces). The unit for these numbers is the same as in the =g option: 1/10th of the distance between successive staff lines.<br />
<br />
The default spacing between staves will depend on whether they are supposed to be barred together or not. Here is the default spacing for four staves of a string quartet:<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
=== Using multiple options ===<br />
<br />
In the previous examples, the prelude is printed on two pages, with a single orphan system occurring on the second page. One way to force the music to fit onto a single page is to set the top margin from 120 pixels to 0 pixels with the option <tt>=t0</tt> and the printable length on the page to 3000 pixels (10 inches) with the option <tt>=l3000</tt>. When supplying multiple optional settings to muse2ps, there is only one option string which starts with the equals character (<tt>=</tt>) and is followed by all options with no spaces. Here is an example of using the <tt>=t0</tt>, <tt>=l3000</tt> and <tt>=j</tt> options at the same time, resulting in a single page of music:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =jt0l3000 | ps2pdf - > [[Media:bach-wtc1p01-jt0l3000.pdf|bach-wtc1p01-jt0l3000.pdf]]<br />
The order of the options in the option string is not important, so for example, "<tt>=l3000t0j</tt>" would yield the same results as "<tt>=jt0l3000</tt>".<br />
<br />
Instead of adjusting the vertical margins with the <tt>=t</tt> and <tt>=l</tt> options, you can also decrease the spacing between staves globally on the system. To do this, use the =v option followed by a list of distances between each staff on the system. In this example there are two staves in each system, so one value is expected after "=v". If there were three or more staves, then the vertical spacing values are separated by commas (and no spaces).<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =v160jt300 | ps2pdf - > [[Media:bach-wtc1p01-v160jt300.pdf|bach-wtc1p01-v160jt300.pdf]]<br />
<br />
In the above example, "<tt>=v160</tt>" means make the spacing between staves on the system slightly more than 1/2 an inch; "<tt>=j</tt>" means to right-justify the last system of music; and "<tt>t300</tt>" means add an extra inch to the top margin (the default setting is "<tt>=t120</tt>".<br />
<br />
=== Music size ===<br />
<br />
The ''muse2ps'' program can typeset music in several sizes: 6, 14, 16, 18 and 21. These numbers refer to the pixel count (at 300 DPI) between successive staff lines. For example, here is a zoom-in of music typeset using the size 6 font, where each staff line is one pixel wide, and there are 5 pixels in the gap between lines, making each staff line spaced every 6 pixels and hence the name "size 6":<br />
<br />
<center><br />
[[File:Dmuse-size6.png|411px]]<br />
</center><br />
<br />
<br />
The default size that ''muse2ps'' will typeset music in is size 14. To display the music at other sizes, use the <tt>=z</tt> option followed by the size. Here is the example prelude printed in all sizes (with right-justification of the last system using <tt>=j</tt> also added to the option string):<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z6j&nbsp;&nbsp;| ps2pdf - > [[Media:bach-wtc1p01-z6j.pdf|bach-wtc1p01-z6j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z14j | ps2pdf - > [[Media:bach-wtc1p01-z14j.pdf|bach-wtc1p01-z14j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z16j | ps2pdf - > [[Media:bach-wtc1p01-z16j.pdf|bach-wtc1p01-z16j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z18j | ps2pdf - > [[Media:bach-wtc1p01-z18j.pdf|bach-wtc1p01-z18j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z21j | ps2pdf - > [[Media:bach-wtc1p01-z21j.pdf|bach-wtc1p01-z21j.pdf]]<br />
<br />
Full-scores are typically printed at size 14 (particularly scores with many parts). Parts for performers are typically printed at sizes 18 or 21. Piano music is typically printed at size 16, and Size 18 has dither on two-pixel wide staff lines. The approximate equivalents to point sizes in regular text (multiplying by the factor 72/300 and then multiplying by 3):<br />
<br />
<center><br />
{| class="wikitable" cellpadding="0" cellspacing="0" border="0"<br />
|- |- {{Style|table header}}<br />
! scope="col" align="left" | MuseData music size<br />
! scope="col" align="left" | Staff height (mm)<br />
! score="col" align="left" | Approximate text font size<br />
! score="col" align="left" | Musical application<br />
|-<br />
| 6 || 2.03 mm || 4 pt || none<br />
|-<br />
| 14 || 4.74 mm || 10 pt || full scores<br />
|-<br />
| 16 || 5.42 mm || 11.5 pt || piano music, vocal scores<br />
|-<br />
| 18 || 6.10 mm || 13 pt || instrumental parts<br />
|-<br />
| 21 || 7.11 mm || 15 pt || large-size instrumental parts<br />
|}<br />
</center><br />
<br />
=== Extracting MPG intermediate data ===<br />
<br />
When a MuseData [[stage2]] file is converted into graphical music notation as PostScript output from ''muse2ps'', it will pass through two data transformation steps. The first step is a conversion from [[stage2]] data into non-page-specific [[i-files]] which is accomplished with the [[autoset]] component. Then these "non-page-specific" [[i-files]] are converted into "page-specific" [[page files|i-files]] (or Music Page (MPG) files) which describe the precise position of musical elements on each page of typeset music. This [[music page]] data can be extracted from the program surreptitiously by using the "=P" option. This will cause the [[MPG]] data to be embedded in comments within the PostScript output. Each page of MPG data will be stored in a sequence of comments starting with "<tt>%=BeginMPGData: 1</tt>", where <tt>1</tt> is the data for page one. And each page of MPG data is ended by the comment <tt>"%=EndMPGData: 1"</tt>.<br />
<br />
All MuseData/dmuse related comments in the PostScript output start with the comment marker "%=", so the MPG data can easily be separated from the PostScript content and other irrelevant comments in a manner such as this:<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =P | grep "^%=" > [[Media:Mpg-comments.txt|mpg-comments.txt]]<br />
The [[regular expression]] search string "<tt>^%=</tt>" used in the [http://en.wikipedia.org/wiki/Grep grep] command means extract lines from the input which start with the two characters "<tt>%=</tt>".<br />
<br />
A PERL utility program, called [[Media:unpackmpg.pl|unpackmpg]], for extracting the MPG data from the comments is included with the source code for ''muse2ps'':<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =Pg85jt200l3000 | [[Media:unpackmpg.pl|unpackmpg]] > [[Media:Mpg-comments.mpg|mpg-comments.mpg]]<br />
In the above command the options mean:<br />
* <tt>=P</tt>: Output [[music page]] data.<br />
* <tt>=g85</tt>: Set the distance between the staves in the grand staff to 8.5 staff lines (default is 100, or 10 staff lines).<br />
* <tt>=j</tt>: Right-justify the last system of the music.<br />
* <tt>=t200</tt>: Set the top margin to 2/3 of a inch below the base position.<br />
* <tt>=l3000</tt>: Set the vertical printable region to 10 inches.<br />
<br />
=== Inputting MPG data (adding a title) ===<br />
<br />
The extracted [[music page]] data from the previous section can be edited (such as to add a title) and then can be reprocessed by ''muse2ps'' to generate PostScript output:<br />
cat [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] | muse2ps =p | ps2pdf - > [[Media:Bach-wtc1p01-title.pdf|bach-wtc1p01-title.pdf]]<br />
<br />
In this case the file [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] is the equivalent to the MPG data generated by ''muse2ps'' in the previous section: [[Media:Mpg-comments.mpg|mpg-comments.mpg]], but with these three lines added to generate a title for the first page:<br />
<br />
<pre><br />
X 14<br />
X 46 1200C 0 Well-Tempered Clavier, Book I, Prelude 1 in C major<br />
X 37 1200C 50 BWV 846<br />
</pre><br />
<br />
The first line sets the font indexes relative to music size 14. The second line places the line at "1200C 0" which means center the line horizontally at location 1200 (4 inches from the left margin), and position the line vertically at position 0 (0 inches below the top margin).<br />
<br />
[[Music page]] data for many of the score on http://www.musedata.org are available as both [[stage2]] files and [[music page]] files. Using the [[music page]] files as input to ''muse2ps'' will generate better graphical notation results, since the automatically typeset data from the [[stage2]] files has been proofread and adjusted by a human.<br />
<br />
== Options ==<br />
<br />
Below is a list of the options which muse2ps understands. Options are given<br />
as the first (and only) argument to the program, starting with an equals sign (=), then followed by the options in any order, with no spaces between the options. For example, to set the music size to 18 and right-justify the last system on the last page, use the option string =z21j:<br />
cat file.md2 | muse2ps =z21j > file.ps<br />
When using characters which may be parsed by the command-line interpreter, you will have to enclose the option string in single quotes (you can do this all of the time if you are uncertain of the conditions in which they would be required):<br />
cat file.md2 | muse2ps '=z21js^{(..}}^T^title^' | ps2pdf - > file.pdf<br />
<br />
In option strings such as "=c<#>", replace <#> with an integer. <tt>[#]</tt> indicates an optional number.<br />
<br />
{|class="wikitable" cellpadding="0" cellspacing="0" border="0" style="width:100%"<br />
|- {{Style|table header}}<br />
! scope="col" width="100px" align="center"| muse2ps option index<br />
|-<br />
| <div style="column-count:3;-moz-column-count:3;-webkit-column-count:3"><br />
* {{nowrap|{{mopt|c}} compression}}<br />
* {{nowrap|{{mopt|C}} composer}}<br />
* {{nowrap|{{mopt|d}} diagnostics}}<br />
* {{nowrap|{{mopt|D}} dash spacing}}<br />
* {{nowrap|{{mopt|E}} eof insertion}}<br />
* {{nowrap|{{mopt|f}} fill by staff}}<br />
* {{nowrap|{{mopt|F}} fill by system}}<br />
* {{nowrap|{{mopt|g}} grand staff spacing}}<br />
* {{nowrap|{{mopt|G}} group selection}}<br />
* {{nowrap|{{mopt|h}} note space}}<br />
* {{nowrap|{{mopt|i}} indentation flag}}<br />
* {{nowrap|{{mopt|I}} indentation amount}}<br />
* {{nowrap|{{mopt|j}} justification}}<br />
* {{nowrap|{{mopt|k}} display options}}<br />
* {{nowrap|{{mopt|l}} page length}}<br />
* {{nowrap|{{mopt|m}} left margin}}<br />
* {{nowrap|{{mopt|M}} embed stage2 data}}<br />
* {{nowrap|{{mopt|n}} number of systems}}<br />
* {{nowrap|{{mopt|p}} page files input}}<br />
* {{nowrap|{{mopt|P}} embed page files}}<br />
* {{nowrap|{{mopt|Q}} min. dist. dur.}}<br />
* {{nowrap|{{mopt|s}} system spine}}<br />
* {{nowrap|{{mopt|S}} title/system space}}<br />
* {{nowrap|{{mopt|t}} top margin}}<br />
* {{nowrap|{{mopt|T}} title}}<br />
* {{nowrap|{{mopt|u}} subtitle}}<br />
* {{nowrap|{{mopt|v}} staff spacing}}<br />
* {{nowrap|{{mopt|w}} system width}}<br />
* {{nowrap|{{mopt|W}} thin barlines}}<br />
* {{nowrap|{{mopt|x}} no suggestions}}<br />
* {{nowrap|{{mopt|X}} no last barline}}<br />
* {{nowrap|{{mopt|y}} no line controls}}<br />
* {{nowrap|{{mopt|Y}} no initial time sig.}}<br />
* {{nowrap|{{mopt|z}} music size}}<br />
</div><br />
|}<br />
<br><br />
<br />
See also the Dmuse text file [[Media:muse2ps-options.dm | options.dm]], or the HTML equivalent [[Media:muse2ps-options.html| options.html]] for a brief description of each option.<br />
<br />
{| style="background-color:white" cellpadding="4"<br />
|- valign="top"<br />
| {{anchor|c_option}}<b>=c</b><#>|| Compression factor: This is measured as a percentage of the default. 100 = no compression (100%). Use smaller values to decrease the spacing between notes (allowing fewer pages in the score). Values larger than 100 will expand the distance between notes (increasing the number of pages in the score). This option is useful to force the last system of music to occur at the bottom of a page.<br />
<br />
|- valign="top"<br />
|{{anchor|C_option}}<b>=C</b>^string^ || Display the ''string'' as the composer's name at the top right side of the first page. See <b>=T</b> for the title, and <b>=u</b> for the sub-title. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|d_option}}<b>=d</b><#> || Diagnostics and Error Messages.<br />
bit 0 of #: ON = print error messages<br />
bit 1 of #: ON = print all diagnostics<br />
bit 2 of #: ON = print diagnostics from autoset<br />
bit 3 of #: ON = print diagnostics from mskpage<br />
bit 4 of #: ON = print diagnostics from pspage<br />
no number = 0x01: print error messages<br />
For example, =d31 turns on all error message toggles. This option is useful if the output PostScript data from muse2ps is empty. The messages go to standard error, while the PostScript data goes to standard output. Therefore, you can print the error messages and still save or pipe the PostScript data without the error messages mixing with the output data.<br />
<br />
|- valign="top"<br />
| {{anchor|D_option}}<b>=D</b> || spacing between dashes. Will override spacing in stage2 files: 0 = use default, >0 = space between dashes (units are dash-length)<br />
<br />
|- valign="top"<br />
| {{anchor|E_option}}<b>=E</b> || <tt>/END</tt> = <tt>/eof</tt>. The muse2ps program allows for multiple parts to be entered from standard input in a single stream of data. Normally the data files representing each part are separated from each other by a line containing only "<tt>/eof</tt>" (lowercase; meaning "End of File"). Separate MuseData [[stage2]] files do not typically end in "<tt>/eof</tt>", but rather, they are required to contain the line "<tt>/END</tt>" (uppercase) to indicate the end of the data. After "<tt>/END</tt>", any textual comments are allowed. With the =E option, you do not need to separate files by "<tt>/eof</tt>", and instead, the next file in the sequence will start on the line coming after "<tt>/END</tt>". Note, however, that you cannot use the =E option if there is any commentary after "<tt>/END</tt>" in a file.<br />
<br />
|- valign="top"<br />
| {{anchor|f_option}}<b>=f</b> || Fill pages to the bottom by proportionally stretching all spacings. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|F_option}}<b>=F</b> || Fill pages to the bottom by adding to the intersystem space only. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|g_option}}<b>=g</b><#>|| Grand staff intra-space measured in multiples of ledger lines times 10. The default is 100, which is 10 ledger lines. Note that this distance reference is different from the =v values which define the distance from the top of one staff to the top of the next staff. For the =g, option, the distance is from the bottom of the top staff to the top of the bottom staff.<br />
<br />
|- valign="top"<br />
| {{anchor|G_option}}<b>=G</b>^group-name^ || Group name to process. The default is "score". Available groups are found on data line 11 at the top of each MuseData [[stage2]] file (excluding any single- or multi-line comments). Other possibilities might be "part" or "data".<br />
<br />
|- valign="top"<br />
| {{anchor|h_option}}<b>=h</b><#> || Alter the minimum allowed space between notes. This is measured as a percentage of the default. 100 = no change (100%).<br />
<br />
|- valign="top"<br />
|{{anchor|i_option}}<b>=i</b><#> || Initial system indentation options flag.<br />
* 0 = use program defaults (set indentation with <tt>=I</tt> option).<br />
* 1 = no indentation of first system of music<br />
* 2 = indent first system, and after every forced system break.<br />
<br />
|- valign="top"<br />
| {{anchor|I_option}}<b>=I</b><#> || Specify the indentation amount for the first system in the music. If zero, then default indentation amount will be used. (see the <tt>=i</tt> option for turning off indentation).<br />
<br />
|- valign="top"<br />
|{{anchor|j_option}}<b>=j</b> || Right-justify the last system of the music so that it extends all of the way across the page. The default is NOT to right justify. Right-justification is a recursive process where measures from previous systems may be moved ahead in the score to cause all systems to have approximately the same note density.<br />
<br />
|- valign="top"<br />
| {{anchor|k_option}}<b>=k</b>^0x<tt>#</tt>^ || Display alternative options. Options are stored in a hexadecimal number prefixed with the string "<tt>0x</tt>" (C program-styled hex number). The default values are the 0 bit settings. The meaning of the bits in the hexadecimal number are (from least significant to most significant bit):<br />
<br />
<table cellpadding=0 cellspacing=0><br />
<tr valign=baseline><th>bit</th><td width=1></td><th>meaning</th></tr><br />
<br />
<tr valign=baseline><td>0</td><td></td><td><br />
<b>k-option activation flag</b><br />
* 1: <i>k</i> option is active, read options in more significant bits.<br />
* 0: <i>k</i> option is inactive. Used to turn off this option as a command-line over-ride.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>1</td><td></td><td><br />
<b>Sforzando/rfz flag</b><br />
* 0: display sforzando as sf (rf).<br />
* 1: display sforzando as sfz (rfz).<br />
</td></tr><br />
<br />
<tr valign=baseline><td>2</td><td></td><td><br />
<b>Sub-edit flag</b><br />
* 0: display editorial markup differently from regular data (such as adding brackets around editorial elements).<br />
* 1: do not display editorial data differently from regular data.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>3</td><td></td><td><br />
<b>No-editorial flag</b><br />
* 0: display editorial markup data.<br />
* 1: do not display editorial markup data.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>4</td><td></td><td><br />
<b> Editorial markup in Roman font flag</b><br />
* 0: use cue-size music fonts for editorial marks.<br />
* 1: use Times-Roan font for editorial marks: tr, dynamics.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>5</td><td></td><td><br />
<b>Ligature flag</b><br />
* 0: do not use ligatures in text.<br />
* 1: use ligatures for "ffl", "ffi", "ff", "fl", and "fi".<br />
</td></tr><br />
<br />
<tr valign=baseline><td>6</td><td></td><td><br />
<b>Figured harmony flag</b><br />
* 0: place figured harmony (figured bass) below the staff.<br />
* 1: place figured harmony (figured bass) above the staff.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>7</td><td></td><td><br />
<b> mheavy4 barline style flag</b><br />
* 0: mheavy4 barline represented by two heavy lines.<br />
* 1: mheavy4 barline represented by one thin, one thick, and then another thin line.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>8</td><td></td><td><br />
<b>Multi-voice augmentation dot option</b><br />
* 0: allow overstrike of dots in different voices.<br />
* 1: do not allow overstrike.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>9</td><td></td><td><br />
<b>New key signatures option</b><br />
* 0: don't print a new key signature if it is the same as the previous one on the staff.<br />
* 1: print a new key signature even if it repeats the previous key signature on the staff.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>10</td><td></td><td><br />
<b>Mixed duration chords</b><br />
* 0: don't allow a mixture of white and black notes in chords.<br />
* 1: allow mixture of white and black notes in chords.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>11</td><td></td><td><br />
<b>Suppress key signature flag </b><br />
* 0: display key signatures.<br />
* 1: suppress printing of the key signature (such as for timpani parts).<br />
</td></tr><br />
<br />
<tr valign=baseline><td>12</td><td></td><td><br />
<b>Editorial slurs flag</b><br />
* 0: all slurs are regular.<br />
* 1: <tt>{ }</tt> and <tt>z x</tt> slurs are editorial slurs (dashed slurs).<br />
</td></tr><br />
<br />
<tr valign=baseline><td>13</td><td></td><td><br />
<b>New clef sign flag </b><br />
* 0: large clefs at start of system, cue-size clefs for clef changes.<br />
* 1: always use large clefs.<br />
</td></tr><br />
<br />
</table><br />
<br />
|- valign="top"<br />
| {{anchor|l_option}}<b>=l</b><#>|| Length of a page. Distance is measured dots, at 300 dots to the inch. Default is 2740 dots. The default starting height is 120 dots. This will not be lowered, but may be raised to accommodate a longer page.<br />
<br />
|- valign="top"<br />
| {{anchor|m_option}}<b>=m</b><#> || Left margin, measured in at 300 dots/inch. The default is 200 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|M_option}}<b>=M</b> || Include the contents of the MuseData source files in the trailer section of the file embedded in PostScript comments (if MuseData [[stage2]] files are used as input.<br />
<br />
|- valign="top"<br />
| {{anchor|n_option}}<b>=n</b><#> || Maximum number of systems on a page. The default is no maximum.<br />
<br />
|- valign="top"<br />
| {{anchor|p_option}}<b>=p</b> || The source is a concatenated set of page specific i-files (also called .mpg files), not a set of MuseData files.<br />
<br />
|- valign="top"<br />
| {{anchor|P_option}}<b>=P</b> || Include listings of the page specific i-files, which are the source of the output PostScript data. Each page is separated.<br />
<br />
|- valign="top"<br />
| {{anchor|Q_option}}<b>=Q</b><#> || Duration which is assigned the minimum distance.<br />
1 = whole notes<br />
... . . .<br />
8 = eighth notes<br />
16 = sixteenth notes, etc.<br />
<br />
|- valign="top"<br />
| {{anchor|s_option}}<b>=s</b>^string^ || Custom left-hand spine. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=s^[(....)][(..)](.)[({..}..)]^<br />
Each dot in the system bracketing string represents one part, with the first dot in the string representing the top staff of the system. If a grand staff is used for any part, then use the colon character (:) for that part. Staves which should be bracketed together are enclosed in square brackets: <tt>[]</tt>. Staves which should be braced together are enclosed in curly braces: <tt>{}</tt>. Staves which should be barred together (barlines connecting between staves) are enclosed in parentheses: <tt>()</tt>. The caret character (^) is used to mark the start and top of the option string. Subsequent options occur immediately after the second caret character with no intervening space.<br />
<br />
|- valign="top"<br />
| {{anchor|S_option}}<b>=S</b><#> || Add extra space between the title and the first system of music: 0 = use default, >0 = lower the first system (units are 1/300th of an inch).<br />
<br />
|- valign="top"<br />
|{{anchor|t_option}}<b>=t</b><#> || Top of page. Default is 120 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|T_option}}<b>=T</b>^string^ || Display the ''string'' as a title at the top of the (first) page. See <b>=u</b> for sub-title, and <b>=C</b> for composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|u_option}}<b>=u</b>^string^ || Display the ''string'' as a sub-title at the top of the (first) page. See <b>=T</b> for the title, and <b>=C</b> for the composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|v_option}}<b>=v</b><#,#,#...#> || Custom spacings. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=v192,192,192,208,192,208,176,176,176,200<br />
The above example setting for the =v option can be used for a system with 8 parts (such as 4 woodwinds, 2 horns, and 4 string instruments). The first seven values describe the spacing between each staff in the system, and the last value is the spacing between systems on the page. The spacing between staves and systems is constant with muse2ps. The spacing values are 1/10th of the distance between two staff lines, and the spacing value is the distance from the top of one staff to the top of the next staff (or the top of the last staff on a system to the top of the staff on the next system for the last value in the list). See the <tt>=g</tt> option for spacing the staves of a grand staff (such as for piano music). When a grand staff is part of a system with more parts, then the distance between the grand staff and the next system is the distance between the top of the bottom staff of the grand-staff pair and the top of the next staff.<br />
<br />
|- valign="top"<br />
| {{anchor|w_option}}<b>=w</b><#> || System width, measured in at 300 dots/inch. The default is 2050 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|W_option}}<b>=W</b>[#] || Thin barline flag. 0 = use regular barlines. 1 = use thin barlines. No number after <tt>=W</tt> means the same as <tt>=W0</tt>.<br />
<br />
|- valign="top"<br />
| {{anchor|x_option}}<b>=x</b> || Defeat all part inclusion suggestions in the data<br />
<br />
|- valign="top"<br />
| {{anchor|X_option}}<b>=X</b>[#] || Leave off the last barline (for short examples). 0 = print last bar, 1 = don't print last bar, <tt>=X</tt> without a number is equivalent to <tt>=X1</tt>. Note: you can add extra staff-line space in the last bar by putting in <tt>irest</tt>s, but you must put <tt>irest</tt>s in all parts, and they must all represent the same note-type (duration). Note also: If the last barline is anything but a regular measure line, it will continue to print.<br />
<br />
|- valign="top"<br />
|{{anchor|y_option}}<b>=y</b> || Defeat all line control suggestions in the data.<br />
<br />
|- valign="top"<br />
|{{anchor|Y_option}}<b>=Y</b><#> || Suppress printing first time signature in score. Used for printing small examples which have a time signature in the data, but none desired in graphical notation. You can also use a time signature in the data of "<tt>T:9/0</tt>" to generate a <i>hidden</i> time signature, and not giving a time signature at the start of a file will result in not time signature being printed. 0 = print initial time signatures (used to override options embedded in data). 1 = suppress first time signature (<tt>=Y</tt> is equivalent to <tt>=Y1</tt>).<br />
<br />
|- valign="top"<br />
| {{anchor|z_option}}<b>=z</b><#> || Music size: choices are 6,14,16,18,21. 14 is the default. This value describes the distance between staff lines in units of 300 dots per inch.<br />
<br />
|}<br />
<br />
== Multi-file input specification ==<br />
<br />
Normally individual MuseData [[stage2]] files contain a single part. These part files are concatenated together and sent via standard input into the muse2ps program. In order for the muse2ps program to be able to segment the separate part files from the original stream the marked "<tt>/eof</tt>" is added after the last line in each file, and the marker "<tt>//</tt>" is ''required'' after the end of all datafile input into muse2ps. <br />
<br />
Typically the last line of a [[stage2]] MuseData file consists of the string "<tt>/END</tt>" (in uppercase), so add the line "<tt>/eof</tt>" (in lowercase) after it: <br />
/END<br />
/eof<br />
<br />
The very last three lines of input to muse2ps should should look like this:<br />
<br />
/END<br />
/eof<br />
//<br />
<br />
If you specify the =E option when running muse2ps, the "<tt>/END</tt>" markers will be used to segment the separate part files internally.<br />
<br />
The PERL script [[Media:collatemd2.pl|collatemd2]] (included with the source code to muse2ps) can be used to concatenate multiple [[stage2]] part files into a single input stream for muse2ps. The output of the PERL script can be saved to a file for later processing with muse2ps. In this case the recommended file extension for the multi-file MuseData content is <b>.md2</b> . Here are example uses of [[Media:collatemd2.pl|collatemd2]]:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
You many have to type "<tt>./collatemd2</tt>" instead of "<tt>collatemd2</tt>" if the perl program is in the current directory and the current directory is not in the command search path. If you download the program from this page, remove the .pl extension when saving (and use a lower-case first letter for the filename). You may have to set the permissions to allow it to be run as a program with the unix command: <tt>chmod 0755 collatemd2</tt>.<br />
<br />
Alternatively, you can save the output from [[Media:collatemd2.pl|collatemd2]] into a file for later use with muse2ps:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] > [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]]<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
When downloading MuseData [[stage2]] files from http://www.musedata.org , the parts are all combined into a single multi-file MuseData file which is the equivalent to the output from [[Media:collatemd2.pl|collatemd2]].<br />
<br />
=== Multiple Music Page files ===<br />
<br />
When concatenating multiple Music Page (MPG) files, separate each file's content with a line with the single capital letter "P" on it. Example of how to do this on the command line, creating a PDF file:<br />
<br />
<source lang="bash"><br />
for i in ??<br />
do<br />
cat $i<br />
echo P<br />
done | muse2ps =p | ps2pdf - - > output.pdf<br />
</source><br />
<br />
N.B.: Probably two slashes also need to be added at the end of the last page; otherwise, it will not print:<br />
<br />
//<br />
<br />
== Color highlighting ==<br />
<br />
A soon-to-be released update of muse2ps will allow for coloring of notes in the score. This colorization can be used in conjunction with displaying search results, or highlighting notes in an example. <br />
<br />
If you place an "R" character in column 14 for note (or rest) records, That note will be highlighted red. A capital "R" will also highlight the stem of the note, while a lower case "r" will color only the notehead. If multiple colored notes all share a common beam, then that beam is also highlighted.<br />
<br />
The letter "B" can be used in column 14 to color notes blue, and the letter "G" can be used to color notes green. The lowercase versions "r" and "g" can be used to color only the noteheads and not the stems.<br />
<br />
== Embedded options ==<br />
<br />
The <i>muse2ps</i> program can read options sent in the input data stream. Options can be embedded in the input data as single-line comments. In [[stage2]] files, single-line comments start with an at-sign (<tt>@</tt>) in the first column of the line. Following the comment marker comes an option identification string "<tt>muse2psv1</tt>", with "<tt>v1</tt>" being the option version level (currently level 1, and can be used in the future to keep options backwards and forwards compatible. Default options, listed in the previous section describing the options, can be overridden by using the default option setting method which adds two equal signs in a row, followed by any options. Multiple default option <br />
comments may occur to prevent the length of the line from getting too long (it is a good idea to limit the length of the line for full backwards compatibility with dmuse and [[stage2]] files, although the current line limit in dmuse/muse2ps is 900 characters).<br />
<br />
Option for specific music sizes can be set by placing the size option between the two equals signs in the option comment. Here is an example option comment header:<br />
<br />
@muse2psv1==z18<br />
@muse2psv1==T^Bach Chorale^u^bwv-277^C^J.S. Bach (1685-1750)^<br />
@muse2psv1=z14=v200,155,155,155j<br />
@muse2psv1=z18=v240,195,195,195j<br />
@muse2psv1=z21=v300,230,230,230j<br />
<br />
The first two lines are default option settings for all music sizes. The first line sets the default music size to 18 if no size is given on the command line to muse2ps. The second line sets the title, subtitle, and composer fields on the title page. The last three lines set the vertical spacing between staves at various music sizes; the first for size 14, then size 18, and the last line for size 21.<br />
<br />
== ps2pdf options ==<br />
<br />
The default behavior of the ps2pdf program is to assume that the input data is formatted for A4 paper. The default output size for muse2ps is US letter. In order for ps2pdf to generate output pages with the correct dimensions, add the option <tt>-sPAPERSIZE=letter</tt> as an argument to the program:<br />
ps2pdf -sPAPERSIZE=letter<br />
<br />
Another pair of useful options (not needed for output from muse2ps, but useful when adding footers at later states in data program) embed the fonts used in the file:<br />
ps2pdf -sPAPERSIZE=letter -dCompatibilityLevel=1.4 -dPDFSETTINGS=/prepress<br />
<br />
For example the Symbol font is not present on the Apple iPad PDF viewer. When using the options in this example, the Symbol font (or the portion used) would be embedded in the file and therefore viewable on an iPad.<br />
<br />
== Creating images ==<br />
<br />
Graphical images can be created in various ways. A good method is to convert PostScript output from muse2ps to a bitmap image with the unix command-line program pstopnm. For smaller examples and converting to other images formtas, Imagemagick's convert is another command-line which is useful. Both pstopnm and convert are often pre-installed on linux computers, and both are available for free on the internet. They should also work with OS X, and can be used in MS Windows using [http://www.cygwin.com cygwin].<br />
<br />
To create an image pipe the output from muse2ps into pstopnm, and convert to a bitmapped image at 300 dots per inch. Next pipe the resulting image to convert for further processing. In the following example, the image is first trimmed from a full page to just the area which contains the printed music, then the image is resized to 33% of the original size for use on the web, and saved into a PNG file.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -resize '33%' [[Media:scale.png|scale.png]]<br />
<br />
=== Transparent background ===<br />
<br />
Use the options <tt>-negate -alpha copy -negate</tt> to make the background of the image transparent so that it can be displayed on any background color. Here is the example image which was just created with the above command:<br />
<br />
[[Image:scale.png]]<br />
<br />
Notice that the background color of the image is white, which becomes noticeable when placing the image on a non-white background color. Now create an image with a transparent background:<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -negate -alpha copy -negate \<br />
-resize '33%' [[Media:scale-transparent.png|scale.png]]<br />
<center><br />
<table cellspacing=0 cellpadding=3><tr bgcolor=#ffffff><td bgcolor=#4499aa><br />
[[Image:scale-transparent.png]]<br />
</td><td width=10><br />
<td bgcolor=#ffaa44>[[Image:scale-transparent.png]]<br />
</td></tr></table></center><br />
<br />
<br />
=== Images for printed publications ===<br />
<br />
To insert musical examples in a Microsoft or similar word processing program, do not resize the image, but leave it at the 300 dots per inch size of the original. Then you can rescale the image in the word processor as necessary. This will optimize the quality of the image in the final printout from the word processor.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim [[Media:scale-large.png|scale.png]]<br />
<br />
== Humdrum interface ==<br />
<br />
The muse2ps program can be used in conjunction with the [http://extra.humdrum.org/man/hum2muse hum2muse] program. Here is an example of how to create graphical music notation using the following Humdrum data as an example:<br />
<br />
<table cellspacing=0><tr bgcolor=white valign=top><td><htmlet>beethoven-kern</htmlet></td><br />
<td width=10></td><br />
<td> <br />
<pre><br />
hum2muse file.krn | muse2ps \<br />
| ps2pdf - - > file.png<br />
</pre><br />
[[Image:beethoven-kern.png]] <br />
<br><br />
<br><br />
<br><br />
</td><br />
</tr><br />
</table><br />
<br />
Images can be generated from Humdrum data online by pasting/typing data into the [http://kern.humdrum.org/cgi-bin/kern/kseditor Humdrum online editor]. For example, copy and paste the above Humdrum data into the left black box on the Humdrum online editor page, and the click on the red "Generate" button to produce an image of the graphical music using the default settings.<br />
<br />
Here is the intermediate MuseData which is passed between [http://extra.humdrum.org/man/hum2muse hum2muse] and muse2ps: [[Media:beethoven-kern.md2 | beethoven.md2]]. Try copying / pasting<br />
this data into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in the same music notation as seen above.<br />
<br />
== Zbex programs ==<br />
<br />
In the muse2ps source code directory, the sub-directory <tt>zprogs</tt> contains the [[zbex]] programs used to generate the file zfun32.c. Most necessary files needed to create [http://www.ccarh.org/software/muse2ps/muse2ps/zfun32.c zfun32.c] are in that directory, but perhaps not all of them. These programs are not used directly by muse2ps, but are compiled into zbex executable code within zfun32.c. The muse2ps is essentially a non-interactive version of [[dmuse]] (see http://dmuse.ccarh.org). The [[dmuse]] program is a text editor which also has a built-in [[zbex]] language interpreter and graphical music display capabilities. The interpreter portion of [[dmuse]] has been extracted for non-interactive use in muse2ps.<br />
<br />
== Examples == <br />
<br />
Further examples of MuseData [[stage2]] files converted into graphical music notation with muse2ps can be found on the [[MuseData examples]] page.<br />
<br />
== Feature requests and bug reports ==<br />
<br />
See the page: [[Muse2ps feature requests and bug reports]].</div>Edchttps://wiki.ccarh.org/index.php?title=Muse2ps&diff=10503Muse2ps2021-03-30T14:58:47Z<p>Edc: /* Options */</p>
<hr />
<div>__TOC__<br />
<br />
== Overview == <br />
<br />
The <b>muse2ps</b> program is a command-line version of the [[autoset]], [[mskpage]] and [[pspage]] programs which are usually run within the [[dmuse]] editor using the built-in [[zbex language]] interpreter. The ''muse2ps'' program reads MuseData [[stage2]] data or [[page file]] data from standard input and converts them into PostScript data representing graphical musical notation which is sent to standard output. The following diagram illustrates the flow of data through ''muse2ps'':<br />
<br />
<br />
<center><br />
[[File:muse2ps-dataflow.svg]]<br />
</center><br />
<br />
The ''muse2ps'' program can accept two forms of input. By default, the ''muse2ps'' program will read multi-file [[stage2]] data from standard input. MuseData [[stage2]] files contain primarily symbolic musical data with possibly a little bit of formatting information (such as system and page breaks). The ''muse2ps'' program will format this symbolic music internally into [[page files]] which give explicit information about the placement of notes, slurs, beams, dynamics, lyrics, ''etc.'' on each page of music.<br />
<br />
Alternatively, if the <tt>=p</tt> option is given as an [[argument]] to ''muse2ps'', the program can read multi-file [[page files]] directly from standard input. Typically, [[stage2]] files are converted automatically into [[pages files]] and then further processing is done on these [[page files]] in order to produce a final typeset score of the graphical music notation. For example, the [[vskpage]] is used to refine the vertical spacing of staves and systems on a page of music within [[page files]], and [[eskpage]] is used to interactively edit the position of graphical elements within [[page files]].<br />
<br />
The only output from ''muse2ps'' (besides error messages) is PostScript data which describes the graphical music notation in a printable score of the music. This data can be further processed, such as sending directly to a PostScript printer, or converting into PDF files for web distrubution of the notated music. The representation of music notation within the PostScript file is in the form of bit-mapped musical fonts. The musical fonts are designed for use with 300 DPI resolution printers when printed at the native resolution (originally these fonts were designed for [http://en.wikipedia.org/wiki/Printer_Command_Language PCL-based printers]). These fonts have the unique feature of [http://en.wikipedia.org/wiki/Dither dithered] edges on sloped beams to minimize the visual effect of pixel stepping at 300 DPI resolution. Minor notation editing can be done on the PostScript/PDF files in programs such as Adobe Illustrator. If you print via PDF files, you may want to uncheck the page-scaling option in the printing program in order to avoid aliasing artifacts in the hard copy due to changing the intended size of the music on the page. <br />
<br />
Two other forms of data can be embedded within the PostScript output. If the <tt>=M</tt> option is given as an [[argument]] to the ''muse2ps'' program, then the original [[stage2]] data will be stored within comments in the PostScript data. Likewise, if the <tt>=P</tt> option is given, the [[page file]] data will be included in the PostScript output as comments. The [[page file]] data will either come from automatic generation using [[autoset]]/[[mskpage]], or from standard input if you use the <tt>=p</tt> option.<br />
<br />
There are also numerous options which primarily deal with the formatting of [[stage2]] files with the [[autoset]] and [[mskpage]] program components. See the [[#Options| options]] section below for a complete list of the options.<br />
<br />
== Download ==<br />
<br />
The ''muse2ps'' program executables for various operating systems or the source code can be downloaded from the following table. <b>Instructions for setting up the program for use can be found ''[[Muse2ps_installation_instructions| here]]''.</b><br />
<br />
<br />
<center><br />
{{muse2psdownloadtable}}<br />
</center><br />
<br />
== Online ==<br />
<br />
The ''muse2ps'' program can be run online at http://www.musedata.org/mdconverter . If you click on [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icons next to data found on the http://www.musedata.org website, the musical data will be loaded into this online converter from which PostScript, PDF, or PNG images of the music can be generated. <br />
<br />
For example, click on the [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icon on the information page for this [http://www.musedata.org/encodings/bach/bg/chorals/0428/ Bach chorale], then click on the {{keypress|Submit}} button on the converter page to generate a PDF file of the chorale with the default settings. Then try setting some options, such as using "<tt>[(.)(.)(.)(.)]</tt>" for the <b>System spine</b> option to prevent barlines from being drawn between staves in the score.<br />
<br />
You can create your own MuseData content and print with the online converter as well. Copy and paste the following MuseData content: [[Media:beethoven-kern.md2 | beethoven.md2]] into into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in this graphical music notation:<br />
<center><br />
[[Image:beethoven-kern.png]]<br />
</center><br />
<br />
== Command-line examples ==<br />
<br />
The simplest use of ''muse2ps'' is to send it MuseData [[stage2]] files as standard input, and save standard output from the program into a PostScript file:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps > [[Media:bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
<br />
You may need to use "<tt>./muse2ps</tt>" instead of "<tt>muse2ps</tt>" in the above command if the ''muse2ps'' program file is in the current directory, but the current directory is not in your [http://en.wikipedia.org/wiki/PATH_%28variable%29 command search path]. The PostScript output can then be further processed in an external program. Usually it is more convenient to work with the data as a PDF file. The process of converting PostScript to PDF can be done by many methods. For example, Acrobat Distiller or Acrobat Professional will convert PostScript files into PDF files. There are online converters, such as this one: http://www.ps2pdf.com/convert.htm . And on most linux computers you can convert PostScript into PDF files using the [http://pages.cs.wisc.edu/~ghost/doc/gnu/5.50/Ps2pdf.htm ps2pdf] command:<br />
ps2pdf [[Media:Bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
This will create the file [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]] (replacing the .ps extension with a .pdf extention automatically when saving the PDF file). If you click on the PDF file link in the previous sentence, you should see the musical notation for J.S. Bach's Well-Tempered Clavier, Book I, Prelude 1 in C major.<br />
<br />
An alternate method of using ps2pdf to generate a PDF file in a single step in conjunction with ''muse2ps'' would be with this command-line construction:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps | ps2pdf - > [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]]<br />
<br />
=== Last system justification ===<br />
<br />
By default ''muse2ps'' does not right-justify the last system of the music on the last page of the output (as can be seen in [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]]). If you<br />
want to justify the last system, use the <tt>=j</tt> option as an argument to ''muse2ps'':<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =j | ps2pdf - > [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]<br />
The ''muse2ps'' (or more precisely, the internal [[mskpage]] component) will possibly adjust line breaks on one or more of the previous systems in the score in order to fill enough music onto the last system, and then stretch or contract the music on the last system to fit the width between margins exactly. The <tt>=j</tt> option can potentially take significantly more time to process the input data than when it is omitted. The reason for the increased processing time can be seen by comparing [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]] and [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]. In order to right-justify the last system of the music, all systems in the music were recursively re-typeset so that the first system in the music contains only three measures instead of four.<br />
<br />
=== Grand-Staff vertical spacing ===<br />
<br />
The distance between staves in the grand staff (which is used for instruments such as the piano) can be controlled by the =g option. An integer number follows after the letter "g" in the option which specifies the distance between the two staves in terms of 1/10ths of the distance between staff lines. The default value for this option is =g100 which means that the distance between the top line of each staff is 10 staff lines.<br />
<br />
Here is an example of reducing the spacing between the staves to nothing. The =g50 option in this case means that the distance between the top of each staff is 5 staff lines. And since this is the height of a single staff, there will be no space between the two staves:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =g50 | ps2pdf - > [[Media:bach-wtc1p01-g50.pdf|bach-wtc1p01-g50.pdf]]<br />
<br />
<br />
=== Single-staff spacing in a system ===<br />
<br />
A ''system'' is a collection of staves which represent different instruments playing at the same time. The distance between these staves can be controlled with the =v option. Following =v is a list of comma-separated integers (with no intervening spaces). The unit for these numbers is the same as in the =g option: 1/10th of the distance between successive staff lines.<br />
<br />
The default spacing between staves will depend on whether they are supposed to be barred together or not. Here is the default spacing for four staves of a string quartet:<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
=== Using multiple options ===<br />
<br />
In the previous examples, the prelude is printed on two pages, with a single orphan system occurring on the second page. One way to force the music to fit onto a single page is to set the top margin from 120 pixels to 0 pixels with the option <tt>=t0</tt> and the printable length on the page to 3000 pixels (10 inches) with the option <tt>=l3000</tt>. When supplying multiple optional settings to muse2ps, there is only one option string which starts with the equals character (<tt>=</tt>) and is followed by all options with no spaces. Here is an example of using the <tt>=t0</tt>, <tt>=l3000</tt> and <tt>=j</tt> options at the same time, resulting in a single page of music:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =jt0l3000 | ps2pdf - > [[Media:bach-wtc1p01-jt0l3000.pdf|bach-wtc1p01-jt0l3000.pdf]]<br />
The order of the options in the option string is not important, so for example, "<tt>=l3000t0j</tt>" would yield the same results as "<tt>=jt0l3000</tt>".<br />
<br />
Instead of adjusting the vertical margins with the <tt>=t</tt> and <tt>=l</tt> options, you can also decrease the spacing between staves globally on the system. To do this, use the =v option followed by a list of distances between each staff on the system. In this example there are two staves in each system, so one value is expected after "=v". If there were three or more staves, then the vertical spacing values are separated by commas (and no spaces).<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =v160jt300 | ps2pdf - > [[Media:bach-wtc1p01-v160jt300.pdf|bach-wtc1p01-v160jt300.pdf]]<br />
<br />
In the above example, "<tt>=v160</tt>" means make the spacing between staves on the system slightly more than 1/2 an inch; "<tt>=j</tt>" means to right-justify the last system of music; and "<tt>t300</tt>" means add an extra inch to the top margin (the default setting is "<tt>=t120</tt>".<br />
<br />
=== Music size ===<br />
<br />
The ''muse2ps'' program can typeset music in several sizes: 6, 14, 16, 18 and 21. These numbers refer to the pixel count (at 300 DPI) between successive staff lines. For example, here is a zoom-in of music typeset using the size 6 font, where each staff line is one pixel wide, and there are 5 pixels in the gap between lines, making each staff line spaced every 6 pixels and hence the name "size 6":<br />
<br />
<center><br />
[[File:Dmuse-size6.png|411px]]<br />
</center><br />
<br />
<br />
The default size that ''muse2ps'' will typeset music in is size 14. To display the music at other sizes, use the <tt>=z</tt> option followed by the size. Here is the example prelude printed in all sizes (with right-justification of the last system using <tt>=j</tt> also added to the option string):<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z6j&nbsp;&nbsp;| ps2pdf - > [[Media:bach-wtc1p01-z6j.pdf|bach-wtc1p01-z6j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z14j | ps2pdf - > [[Media:bach-wtc1p01-z14j.pdf|bach-wtc1p01-z14j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z16j | ps2pdf - > [[Media:bach-wtc1p01-z16j.pdf|bach-wtc1p01-z16j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z18j | ps2pdf - > [[Media:bach-wtc1p01-z18j.pdf|bach-wtc1p01-z18j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z21j | ps2pdf - > [[Media:bach-wtc1p01-z21j.pdf|bach-wtc1p01-z21j.pdf]]<br />
<br />
Full-scores are typically printed at size 14 (particularly scores with many parts). Parts for performers are typically printed at sizes 18 or 21. Piano music is typically printed at size 16, and Size 18 has dither on two-pixel wide staff lines. The approximate equivalents to point sizes in regular text (multiplying by the factor 72/300 and then multiplying by 3):<br />
<br />
<center><br />
{| class="wikitable" cellpadding="0" cellspacing="0" border="0"<br />
|- |- {{Style|table header}}<br />
! scope="col" align="left" | MuseData music size<br />
! scope="col" align="left" | Staff height (mm)<br />
! score="col" align="left" | Approximate text font size<br />
! score="col" align="left" | Musical application<br />
|-<br />
| 6 || 2.03 mm || 4 pt || none<br />
|-<br />
| 14 || 4.74 mm || 10 pt || full scores<br />
|-<br />
| 16 || 5.42 mm || 11.5 pt || piano music, vocal scores<br />
|-<br />
| 18 || 6.10 mm || 13 pt || instrumental parts<br />
|-<br />
| 21 || 7.11 mm || 15 pt || large-size instrumental parts<br />
|}<br />
</center><br />
<br />
=== Extracting MPG intermediate data ===<br />
<br />
When a MuseData [[stage2]] file is converted into graphical music notation as PostScript output from ''muse2ps'', it will pass through two data transformation steps. The first step is a conversion from [[stage2]] data into non-page-specific [[i-files]] which is accomplished with the [[autoset]] component. Then these "non-page-specific" [[i-files]] are converted into "page-specific" [[page files|i-files]] (or Music Page (MPG) files) which describe the precise position of musical elements on each page of typeset music. This [[music page]] data can be extracted from the program surreptitiously by using the "=P" option. This will cause the [[MPG]] data to be embedded in comments within the PostScript output. Each page of MPG data will be stored in a sequence of comments starting with "<tt>%=BeginMPGData: 1</tt>", where <tt>1</tt> is the data for page one. And each page of MPG data is ended by the comment <tt>"%=EndMPGData: 1"</tt>.<br />
<br />
All MuseData/dmuse related comments in the PostScript output start with the comment marker "%=", so the MPG data can easily be separated from the PostScript content and other irrelevant comments in a manner such as this:<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =P | grep "^%=" > [[Media:Mpg-comments.txt|mpg-comments.txt]]<br />
The [[regular expression]] search string "<tt>^%=</tt>" used in the [http://en.wikipedia.org/wiki/Grep grep] command means extract lines from the input which start with the two characters "<tt>%=</tt>".<br />
<br />
A PERL utility program, called [[Media:unpackmpg.pl|unpackmpg]], for extracting the MPG data from the comments is included with the source code for ''muse2ps'':<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =Pg85jt200l3000 | [[Media:unpackmpg.pl|unpackmpg]] > [[Media:Mpg-comments.mpg|mpg-comments.mpg]]<br />
In the above command the options mean:<br />
* <tt>=P</tt>: Output [[music page]] data.<br />
* <tt>=g85</tt>: Set the distance between the staves in the grand staff to 8.5 staff lines (default is 100, or 10 staff lines).<br />
* <tt>=j</tt>: Right-justify the last system of the music.<br />
* <tt>=t200</tt>: Set the top margin to 2/3 of a inch below the base position.<br />
* <tt>=l3000</tt>: Set the vertical printable region to 10 inches.<br />
<br />
=== Inputting MPG data (adding a title) ===<br />
<br />
The extracted [[music page]] data from the previous section can be edited (such as to add a title) and then can be reprocessed by ''muse2ps'' to generate PostScript output:<br />
cat [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] | muse2ps =p | ps2pdf - > [[Media:Bach-wtc1p01-title.pdf|bach-wtc1p01-title.pdf]]<br />
<br />
In this case the file [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] is the equivalent to the MPG data generated by ''muse2ps'' in the previous section: [[Media:Mpg-comments.mpg|mpg-comments.mpg]], but with these three lines added to generate a title for the first page:<br />
<br />
<pre><br />
X 14<br />
X 46 1200C 0 Well-Tempered Clavier, Book I, Prelude 1 in C major<br />
X 37 1200C 50 BWV 846<br />
</pre><br />
<br />
The first line sets the font indexes relative to music size 14. The second line places the line at "1200C 0" which means center the line horizontally at location 1200 (4 inches from the left margin), and position the line vertically at position 0 (0 inches below the top margin).<br />
<br />
[[Music page]] data for many of the score on http://www.musedata.org are available as both [[stage2]] files and [[music page]] files. Using the [[music page]] files as input to ''muse2ps'' will generate better graphical notation results, since the automatically typeset data from the [[stage2]] files has been proofread and adjusted by a human.<br />
<br />
== Options ==<br />
<br />
Below is a list of the options which muse2ps understands. Options are given<br />
as the first (and only) argument to the program, starting with an equals sign (=), then followed by the options in any order, with no spaces between the options. For example, to set the music size to 18 and right-justify the last system on the last page, use the option string =z21j:<br />
cat file.md2 | muse2ps =z21j > file.ps<br />
When using characters which may be parsed by the command-line interpreter, you will have to enclose the option string in single quotes (you can do this all of the time if you are uncertain of the conditions in which they would be required):<br />
cat file.md2 | muse2ps '=z21js^{(..}}^T^title^' | ps2pdf - > file.pdf<br />
<br />
In option strings such as "=c<#>", replace <#> with an integer. <tt>[#]</tt> indicates an optional number.<br />
<br />
{|class="wikitable" cellpadding="0" cellspacing="0" border="0" style="width:100%"<br />
|- {{Style|table header}}<br />
! scope="col" width="100px" align="center"| muse2ps option index<br />
|-<br />
| <div style="column-count:3;-moz-column-count:3;-webkit-column-count:3"><br />
* {{nowrap|{{mopt|c}} compression}}<br />
* {{nowrap|{{mopt|C}} composer}}<br />
* {{nowrap|{{mopt|d}} diagnostics}}<br />
* {{nowrap|{{mopt|D}} dash spacing}}<br />
* {{nowrap|{{mopt|E}} eof insertion}}<br />
* {{nowrap|{{mopt|f}} fill by staff}}<br />
* {{nowrap|{{mopt|F}} fill by system}}<br />
* {{nowrap|{{mopt|g}} grand staff spacing}}<br />
* {{nowrap|{{mopt|G}} group selection}}<br />
* {{nowrap|{{mopt|h}} note space}}<br />
* {{nowrap|{{mopt|i}} indentation flag}}<br />
* {{nowrap|{{mopt|I}} indentation amount}}<br />
* {{nowrap|{{mopt|j}} justification}}<br />
* {{nowrap|{{mopt|k}} display options}}<br />
* {{nowrap|{{mopt|l}} page length}}<br />
* {{nowrap|{{mopt|m}} left margin}}<br />
* {{nowrap|{{mopt|M}} embed stage2 data}}<br />
* {{nowrap|{{mopt|n}} number of systems}}<br />
* {{nowrap|{{mopt|p}} page files input}}<br />
* {{nowrap|{{mopt|P}} embed page files}}<br />
* {{nowrap|{{mopt|Q}} min. dist. dur.}}<br />
* {{nowrap|{{mopt|s}} system spine}}<br />
* {{nowrap|{{mopt|S}} title/system space}}<br />
* {{nowrap|{{mopt|t}} top margin}}<br />
* {{nowrap|{{mopt|T}} title}}<br />
* {{nowrap|{{mopt|u}} subtitle}}<br />
* {{nowrap|{{mopt|v}} staff spacing}}<br />
* {{nowrap|{{mopt|w}} system width}}<br />
* {{nowrap|{{mopt|W}} thin barlines}}<br />
* {{nowrap|{{mopt|x}} no suggestions}}<br />
* {{nowrap|{{mopt|X}} no last barline}}<br />
* {{nowrap|{{mopt|y}} no line controls}}<br />
* {{nowrap|{{mopt|Y}} no initial time sig.}}<br />
* {{nowrap|{{mopt|z}} music size}}<br />
</div><br />
|}<br />
<br><br />
<br />
See also the Dmuse text file [[Media:muse2ps-options.dm | options.dm]], or the HTML equivalent [[Media:muse2ps-options.html| options.html]] for a brief description of each option.<br />
<br />
{| style="background-color:white" cellpadding="4"<br />
|- valign="top"<br />
| {{anchor|c_option}}<b>=c</b><#>|| Compression factor: This is measured as a percentage of the default. 100 = no compression (100%). Use smaller values to decrease the spacing between notes (allowing fewer pages in the score). Values larger than 100 will expand the distance between notes (increasing the number of pages in the score). This option is useful to force the last system of music to occur at the bottom of a page.<br />
<br />
|- valign="top"<br />
|{{anchor|C_option}}<b>=C</b>^string^ || Display the ''string'' as the composer's name at the top right side of the first page. See <b>=T</b> for the title, and <b>=u</b> for the sub-title. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|d_option}}<b>=d</b><#> || Diagnostics and Error Messages.<br />
bit 0 of #: ON = print error messages<br />
bit 1 of #: ON = print all diagnostics<br />
bit 2 of #: ON = print diagnostics from autoset<br />
bit 3 of #: ON = print diagnostics from mskpage<br />
bit 4 of #: ON = print diagnostics from pspage<br />
no number = 0x01: print error messages<br />
For example, =d31 turns on all error message toggles. This option is useful if the output PostScript data from muse2ps is empty. The messages go to standard error, while the PostScript data goes to standard output. Therefore, you can print the error messages and still save or pipe the PostScript data without the error messages mixing with the output data.<br />
<br />
|- valign="top"<br />
| {{anchor|D_option}}<b>=D</b> || spacing between dashes. Will override spacing in stage2 files: 0 = use default, >0 = space between dashes (units are dash-length)<br />
<br />
|- valign="top"<br />
| {{anchor|E_option}}<b>=E</b> || <tt>/END</tt> = <tt>/eof</tt>. The muse2ps program allows for multiple parts to be entered from standard input in a single stream of data. Normally the data files representing each part are separated from each other by a line containing only "<tt>/eof</tt>" (lowercase; meaning "End of File"). Separate MuseData [[stage2]] files do not typically end in "<tt>/eof</tt>", but rather, they are required to contain the line "<tt>/END</tt>" (uppercase) to indicate the end of the data. After "<tt>/END</tt>", any textual comments are allowed. With the =E option, you do not need to separate files by "<tt>/eof</tt>", and instead, the next file in the sequence will start on the line coming after "<tt>/END</tt>". Note, however, that you cannot use the =E option if there is any commentary after "<tt>/END</tt>" in a file.<br />
<br />
|- valign="top"<br />
| {{anchor|f_option}}<b>=f</b> || Fill pages to the bottom by proportionally stretching all spacings. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|F_option}}<b>=F</b> || Fill pages to the bottom by adding to the intersystem space only. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|g_option}}<b>=g</b><#>|| Grand staff intra-space measured in multiples of ledger lines times 10. The default is 100, which is 10 ledger lines. Note that this distance reference is different from the =v values which define the distance from the top of one staff to the top of the next staff. For the =g, option, the distance is from the bottom of the top staff to the top of the bottom staff.<br />
<br />
|- valign="top"<br />
| {{anchor|G_option}}<b>=G</b>^group-name^ || Group name to process. The default is "score". Available groups are found on data line 11 at the top of each MuseData [[stage2]] file (excluding any single- or multi-line comments). Other possibilities might be "part" or "data".<br />
<br />
|- valign="top"<br />
| {{anchor|h_option}}<b>=h</b><#> || Alter the minimum allowed space between notes. This is measured as a percentage of the default. 100 = no change (100%).<br />
<br />
|- valign="top"<br />
|{{anchor|i_option}}<b>=i</b><#> || Initial system indentation options flag.<br />
* 0 = use program defaults (set indentation with <tt>=I</tt> option).<br />
* 1 = no indentation of first system of music<br />
* 2 = indent first system, and after every forced system break.<br />
<br />
|- valign="top"<br />
| {{anchor|I_option}}<b>=I</b><#> || Specify the indentation amount for the first system in the music. If zero, then default indentation amount will be used. (see the <tt>=i</tt> option for turning off indentation).<br />
<br />
|- valign="top"<br />
|{{anchor|j_option}}<b>=j</b> || Right-justify the last system of the music so that it extends all of the way across the page. The default is NOT to right justify. Right-justification is a recursive process where measures from previous systems may be moved ahead in the score to cause all systems to have approximately the same note density.<br />
<br />
|- valign="top"<br />
| {{anchor|k_option}}<b>=k</b>^0x<tt>#</tt>^ || Display alternative options. Options are stored in a hexadecimal number prefixed with the string "<tt>0x</tt>" (C program-styled hex number). The default values are the 0 bit settings. The meaning of the bits in the hexadecimal number are (from least significant to most significant bit):<br />
<br />
<table cellpadding=0 cellspacing=0><br />
<tr valign=baseline><th>bit</th><td width=5></td><th>meaning</th></tr><br />
<br />
<tr valign=baseline><td>0</td><td></td><td><br />
<b>k-option activation flag</b><br />
* 1: <i>k</i> option is active, read options in more significant bits.<br />
* 0: <i>k</i> option is inactive. Used to turn off this option as a command-line over-ride.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>1</td><td></td><td><br />
<b>Sforzando/rfz flag</b><br />
* 0: display sforzando as sf (rf)<br />
* 1: display sforzando as sfz (rfz)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>2</td><td></td><td><br />
<b>Sub-edit flag</b><br />
* 0: diplay editorial markup differently from regular data (such as adding brackets around editorial elements).<br />
* 1: do not display editorial data differently from regular data.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>3</td><td></td><td><br />
<b>No-editorial flag</b><br />
* 0: display editorial markup data.<br />
* 1: do not display editorial markup data.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>4</td><td></td><td><br />
<b> Editorial markup in Roman font flag</b><br />
* 0: use cue-size music fonts for editorial marks.<br />
* 1: use Times-Roan font for editorial marks: tr, dynamics<br />
</td></tr><br />
<br />
<tr valign=baseline><td>5</td><td></td><td><br />
<b>Ligature flag</b><br />
* 0: do not use ligatures in text.<br />
* 1: use ligatures for "ffl", "ffi", "ff", "fl", and "fi".<br />
</td></tr><br />
<br />
<tr valign=baseline><td>6</td><td></td><td><br />
<b>Figured harmony flag</b><br />
* 0: place figured harmony (figured bass) below the staff.<br />
* 1: place figured harmony (figured bass) above the staff.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>7</td><td></td><td><br />
<b> mheavy4 barline style flag</b><br />
* 0: mheavy4 barline represented by two heavy lines.<br />
* 1: mheavy4 barline represented by one thin, one thick, and then another thin line.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>8</td><td></td><td><br />
<b>Multi-voice augmentation dot option</b><br />
* 0: allow overstrike of dots in different voices.<br />
* 1: do now allow overstrike<br />
</td></tr><br />
<br />
<tr valign=baseline><td>9</td><td></td><td><br />
<b>New key signatures option</b><br />
* 0: don't print a new key signature if it is the same as the previous one on the staff.<br />
* 1: print a new key signature even if it repeats the previous key signature on the staff.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>10</td><td></td><td><br />
<b>Mixed duration chords</b><br />
* 0: Don't allow a mixture of white and black notes in chords.<br />
* 1: Allow mixture of white and black notes in chords.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>11</td><td></td><td><br />
<b>Suppress key signature flag </b><br />
* 0: display key signatures<br />
* 1: suppress printing of the key signature (such as for timpani parts).<br />
</td></tr><br />
<br />
<tr valign=baseline><td>12</td><td></td><td><br />
<b>Editorial slurs flag</b><br />
* 0: all slurs are regular.<br />
* 1: <tt>{ }</tt> and <tt>z x</tt> slurs are editorial slurs (dashed slurs).<br />
</td></tr><br />
<br />
<tr valign=baseline><td>13</td><td></td><td><br />
<b>New clef sign flag </b><br />
* 0: Large clefs at start of system, cue-size clefs for clef changes.<br />
* 1: Always use large clefs.<br />
</td></tr><br />
<br />
</table><br />
<br />
|- valign="top"<br />
| {{anchor|l_option}}<b>=l</b><#>|| Length of a page. Distance is measured dots, at 300 dots to the inch. Default is 2740 dots. The default starting height is 120 dots. This will not be lowered, but may be raised to accommodate a longer page.<br />
<br />
|- valign="top"<br />
| {{anchor|m_option}}<b>=m</b><#> || Left margin, measured in at 300 dots/inch. The default is 200 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|M_option}}<b>=M</b> || Include the contents of the MuseData source files in the Trailer section of the file embedded in PostScript comments (if MuseData [[stage2]] files are used as input.<br />
<br />
|- valign="top"<br />
| {{anchor|n_option}}<b>=n</b><#> || Maximum number of systems on a page. The default is no maximum.<br />
<br />
|- valign="top"<br />
| {{anchor|p_option}}<b>=p</b> || The source is a concatenated set of page specific i-files (also called .mpg files), not a set of MuseData files.<br />
<br />
|- valign="top"<br />
| {{anchor|P_option}}<b>=P</b> || Include listings of the page specific i-files, which are the source of the output PostScript data. Each page is separated.<br />
<br />
|- valign="top"<br />
| {{anchor|Q_option}}<b>=Q</b><#> || Duration which is assigned the minimum distance.<br />
1 = whole notes<br />
... . . .<br />
8 = eighth notes<br />
16 = sixteenth notes, etc.<br />
<br />
|- valign="top"<br />
| {{anchor|s_option}}<b>=s</b>^string^ || Custom left-hand spine. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=s^[(....)][(..)](.)[({..}..)]^<br />
Each dot in the system bracketing string represents one part, with the first dot in the string representing the top staff of the system. If a grand-staff is used for any part, then use the colon character (:) for that part. Staves which should be bracketed together are enclosed in square brackets: <tt>[]</tt>. Staves which should be braced together are enclosed in curly braces: <tt>{}</tt>. Staves which should be barred together (barlines connecting between staves) are enclosed in parentheses: <tt>()</tt>. The caret character (^) is used to mark the start and top of the option string. Subsequent options occur immediately after the second caret character with no intervening space.<br />
<br />
|- valign="top"<br />
| {{anchor|S_option}}<b>=S</b><#> || Add extra space between the title and the first system of music: 0 = use default, >0 = lower the first system (units are 1/300th of an inch).<br />
<br />
|- valign="top"<br />
|{{anchor|t_option}}<b>=t</b><#> || Top of page. Default is 120 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|T_option}}<b>=T</b>^string^ || Display the ''string'' as a title at the top of the (first) page. See <b>=u</b> for sub-title, and <b>=C</b> for composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|u_option}}<b>=u</b>^string^ || Display the ''string'' as a sub-title at the top of the (first) page. See <b>=T</b> for the title, and <b>=C</b> for the composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|v_option}}<b>=v</b><#,#,#...#> || Custom spacings. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=v192,192,192,208,192,208,176,176,176,200<br />
The above example setting for the =v option can be used for a system with 8 parts (such as 4 woodwinds, 2 horns, and 4 string instruments). The first seven values describe the spacing between each staff in the system, and the last value is the spacing between systems on the page. The spacing between staves and systems is constant with muse2ps. The spacing values are 1/10th of the distance between two staff lines, and the spacing value is the distance from the top of one staff to the top of the next staff (or the top of the last staff on a system to the top of the staff on the next system for the last value in the list). See the <tt>=g</tt> option for spacing the staves of a grand staff (such as for piano music). When a grand staff is part of a system with more parts, then the distance between the grand staff and the next system is the distance between the top of the bottom staff of the grand-staff pair and the top of the next staff.<br />
<br />
|- valign="top"<br />
| {{anchor|w_option}}<b>=w</b><#> || System width, measured in at 300 dots/inch. The default is 2050 dots<br />
<br />
|- valign="top"<br />
| {{anchor|W_option}}<b>=W</b>[#] || Thin barline flag. 0 = use regular barlines. 1 = use thin barlines. No number after <tt>=W</tt> means the same as <tt>=W0</tt>.<br />
<br />
|- valign="top"<br />
| {{anchor|x_option}}<b>=x</b> || Defeat all part inclusion suggestions in the data<br />
<br />
|- valign="top"<br />
| {{anchor|X_option}}<b>=X</b>[#] || Leave off the last barline (for short examples). 0 = print last bar, 1 = don't print last bar, <tt>=X</tt> without a number is equivalent to <tt>=X1</tt>. Note: you can add extra staff line space in the last bar by putting in <tt>irest</tt>s, but you must put <tt>irest</tt>s in all parts ,and they must all represent the same note type (duration). Note also: If the last bar line is anything but a regular measure line, it will continue to print.<br />
<br />
|- valign="top"<br />
|{{anchor|y_option}}<b>=y</b> || Defeat all line control suggestions in the data<br />
<br />
|- valign="top"<br />
|{{anchor|Y_option}}<b>=Y</b><#> || Suppress printing first time signature in score. Used for printing small examples which have a time signature in the data, but none desired in graphical notation. You can also use a time signature in the data of "<tt>T:9/0</tt>" to generate a <i>hidden</i> time signature, and not giving a time signature at the start of a file will result in not time signature being printed. 0 = print initial time signatures (used to override options embedded in data). 1 = suppress first time signature (<tt>=Y</tt> is equivalent to <tt>=Y1</tt>).<br />
<br />
|- valign="top"<br />
| {{anchor|z_option}}<b>=z</b><#> || Music size: choices are 6,14,16,18,21. 14 is the default. This value describes the distance between staff lines in units of 300 dots per inch.<br />
<br />
|}<br />
<br />
== Multi-file input specification ==<br />
<br />
Normally individual MuseData [[stage2]] files contain a single part. These part files are concatenated together and sent via standard input into the muse2ps program. In order for the muse2ps program to be able to segment the separate part files from the original stream the marked "<tt>/eof</tt>" is added after the last line in each file, and the marker "<tt>//</tt>" is ''required'' after the end of all datafile input into muse2ps. <br />
<br />
Typically the last line of a [[stage2]] MuseData file consists of the string "<tt>/END</tt>" (in uppercase), so add the line "<tt>/eof</tt>" (in lowercase) after it: <br />
/END<br />
/eof<br />
<br />
The very last three lines of input to muse2ps should should look like this:<br />
<br />
/END<br />
/eof<br />
//<br />
<br />
If you specify the =E option when running muse2ps, the "<tt>/END</tt>" markers will be used to segment the separate part files internally.<br />
<br />
The PERL script [[Media:collatemd2.pl|collatemd2]] (included with the source code to muse2ps) can be used to concatenate multiple [[stage2]] part files into a single input stream for muse2ps. The output of the PERL script can be saved to a file for later processing with muse2ps. In this case the recommended file extension for the multi-file MuseData content is <b>.md2</b> . Here are example uses of [[Media:collatemd2.pl|collatemd2]]:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
You many have to type "<tt>./collatemd2</tt>" instead of "<tt>collatemd2</tt>" if the perl program is in the current directory and the current directory is not in the command search path. If you download the program from this page, remove the .pl extension when saving (and use a lower-case first letter for the filename). You may have to set the permissions to allow it to be run as a program with the unix command: <tt>chmod 0755 collatemd2</tt>.<br />
<br />
Alternatively, you can save the output from [[Media:collatemd2.pl|collatemd2]] into a file for later use with muse2ps:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] > [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]]<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
When downloading MuseData [[stage2]] files from http://www.musedata.org , the parts are all combined into a single multi-file MuseData file which is the equivalent to the output from [[Media:collatemd2.pl|collatemd2]].<br />
<br />
=== Multiple Music Page files ===<br />
<br />
When concatenating multiple Music Page (MPG) files, separate each file's content with a line with the single capital letter "P" on it. Example of how to do this on the command line, creating a PDF file:<br />
<br />
<source lang="bash"><br />
for i in ??<br />
do<br />
cat $i<br />
echo P<br />
done | muse2ps =p | ps2pdf - - > output.pdf<br />
</source><br />
<br />
N.B.: Probably two slashes also need to be added at the end of the last page; otherwise, it will not print:<br />
<br />
//<br />
<br />
== Color highlighting ==<br />
<br />
A soon-to-be released update of muse2ps will allow for coloring of notes in the score. This colorization can be used in conjunction with displaying search results, or highlighting notes in an example. <br />
<br />
If you place an "R" character in column 14 for note (or rest) records, That note will be highlighted red. A capital "R" will also highlight the stem of the note, while a lower case "r" will color only the notehead. If multiple colored notes all share a common beam, then that beam is also highlighted.<br />
<br />
The letter "B" can be used in column 14 to color notes blue, and the letter "G" can be used to color notes green. The lowercase versions "r" and "g" can be used to color only the noteheads and not the stems.<br />
<br />
== Embedded options ==<br />
<br />
The <i>muse2ps</i> program can read options sent in the input data stream. Options can be embedded in the input data as single-line comments. In [[stage2]] files, single-line comments start with an at-sign (<tt>@</tt>) in the first column of the line. Following the comment marker comes an option identification string "<tt>muse2psv1</tt>", with "<tt>v1</tt>" being the option version level (currently level 1, and can be used in the future to keep options backwards and forwards compatible. Default options, listed in the previous section describing the options, can be overridden by using the default option setting method which adds two equal signs in a row, followed by any options. Multiple default option <br />
comments may occur to prevent the length of the line from getting too long (it is a good idea to limit the length of the line for full backwards compatibility with dmuse and [[stage2]] files, although the current line limit in dmuse/muse2ps is 900 characters).<br />
<br />
Option for specific music sizes can be set by placing the size option between the two equals signs in the option comment. Here is an example option comment header:<br />
<br />
@muse2psv1==z18<br />
@muse2psv1==T^Bach Chorale^u^bwv-277^C^J.S. Bach (1685-1750)^<br />
@muse2psv1=z14=v200,155,155,155j<br />
@muse2psv1=z18=v240,195,195,195j<br />
@muse2psv1=z21=v300,230,230,230j<br />
<br />
The first two lines are default option settings for all music sizes. The first line sets the default music size to 18 if no size is given on the command line to muse2ps. The second line sets the title, subtitle, and composer fields on the title page. The last three lines set the vertical spacing between staves at various music sizes; the first for size 14, then size 18, and the last line for size 21.<br />
<br />
== ps2pdf options ==<br />
<br />
The default behavior of the ps2pdf program is to assume that the input data is formatted for A4 paper. The default output size for muse2ps is US letter. In order for ps2pdf to generate output pages with the correct dimensions, add the option <tt>-sPAPERSIZE=letter</tt> as an argument to the program:<br />
ps2pdf -sPAPERSIZE=letter<br />
<br />
Another pair of useful options (not needed for output from muse2ps, but useful when adding footers at later states in data program) embed the fonts used in the file:<br />
ps2pdf -sPAPERSIZE=letter -dCompatibilityLevel=1.4 -dPDFSETTINGS=/prepress<br />
<br />
For example the Symbol font is not present on the Apple iPad PDF viewer. When using the options in this example, the Symbol font (or the portion used) would be embedded in the file and therefore viewable on an iPad.<br />
<br />
== Creating images ==<br />
<br />
Graphical images can be created in various ways. A good method is to convert PostScript output from muse2ps to a bitmap image with the unix command-line program pstopnm. For smaller examples and converting to other images formtas, Imagemagick's convert is another command-line which is useful. Both pstopnm and convert are often pre-installed on linux computers, and both are available for free on the internet. They should also work with OS X, and can be used in MS Windows using [http://www.cygwin.com cygwin].<br />
<br />
To create an image pipe the output from muse2ps into pstopnm, and convert to a bitmapped image at 300 dots per inch. Next pipe the resulting image to convert for further processing. In the following example, the image is first trimmed from a full page to just the area which contains the printed music, then the image is resized to 33% of the original size for use on the web, and saved into a PNG file.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -resize '33%' [[Media:scale.png|scale.png]]<br />
<br />
=== Transparent background ===<br />
<br />
Use the options <tt>-negate -alpha copy -negate</tt> to make the background of the image transparent so that it can be displayed on any background color. Here is the example image which was just created with the above command:<br />
<br />
[[Image:scale.png]]<br />
<br />
Notice that the background color of the image is white, which becomes noticeable when placing the image on a non-white background color. Now create an image with a transparent background:<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -negate -alpha copy -negate \<br />
-resize '33%' [[Media:scale-transparent.png|scale.png]]<br />
<center><br />
<table cellspacing=0 cellpadding=3><tr bgcolor=#ffffff><td bgcolor=#4499aa><br />
[[Image:scale-transparent.png]]<br />
</td><td width=10><br />
<td bgcolor=#ffaa44>[[Image:scale-transparent.png]]<br />
</td></tr></table></center><br />
<br />
<br />
=== Images for printed publications ===<br />
<br />
To insert musical examples in a Microsoft or similar word processing program, do not resize the image, but leave it at the 300 dots per inch size of the original. Then you can rescale the image in the word processor as necessary. This will optimize the quality of the image in the final printout from the word processor.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim [[Media:scale-large.png|scale.png]]<br />
<br />
== Humdrum interface ==<br />
<br />
The muse2ps program can be used in conjunction with the [http://extra.humdrum.org/man/hum2muse hum2muse] program. Here is an example of how to create graphical music notation using the following Humdrum data as an example:<br />
<br />
<table cellspacing=0><tr bgcolor=white valign=top><td><htmlet>beethoven-kern</htmlet></td><br />
<td width=10></td><br />
<td> <br />
<pre><br />
hum2muse file.krn | muse2ps \<br />
| ps2pdf - - > file.png<br />
</pre><br />
[[Image:beethoven-kern.png]] <br />
<br><br />
<br><br />
<br><br />
</td><br />
</tr><br />
</table><br />
<br />
Images can be generated from Humdrum data online by pasting/typing data into the [http://kern.humdrum.org/cgi-bin/kern/kseditor Humdrum online editor]. For example, copy and paste the above Humdrum data into the left black box on the Humdrum online editor page, and the click on the red "Generate" button to produce an image of the graphical music using the default settings.<br />
<br />
Here is the intermediate MuseData which is passed between [http://extra.humdrum.org/man/hum2muse hum2muse] and muse2ps: [[Media:beethoven-kern.md2 | beethoven.md2]]. Try copying / pasting<br />
this data into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in the same music notation as seen above.<br />
<br />
== Zbex programs ==<br />
<br />
In the muse2ps source code directory, the sub-directory <tt>zprogs</tt> contains the [[zbex]] programs used to generate the file zfun32.c. Most necessary files needed to create [http://www.ccarh.org/software/muse2ps/muse2ps/zfun32.c zfun32.c] are in that directory, but perhaps not all of them. These programs are not used directly by muse2ps, but are compiled into zbex executable code within zfun32.c. The muse2ps is essentially a non-interactive version of [[dmuse]] (see http://dmuse.ccarh.org). The [[dmuse]] program is a text editor which also has a built-in [[zbex]] language interpreter and graphical music display capabilities. The interpreter portion of [[dmuse]] has been extracted for non-interactive use in muse2ps.<br />
<br />
== Examples == <br />
<br />
Further examples of MuseData [[stage2]] files converted into graphical music notation with muse2ps can be found on the [[MuseData examples]] page.<br />
<br />
== Feature requests and bug reports ==<br />
<br />
See the page: [[Muse2ps feature requests and bug reports]].</div>Edchttps://wiki.ccarh.org/index.php?title=Muse2ps&diff=10502Muse2ps2021-03-30T14:43:06Z<p>Edc: /* Options */</p>
<hr />
<div>__TOC__<br />
<br />
== Overview == <br />
<br />
The <b>muse2ps</b> program is a command-line version of the [[autoset]], [[mskpage]] and [[pspage]] programs which are usually run within the [[dmuse]] editor using the built-in [[zbex language]] interpreter. The ''muse2ps'' program reads MuseData [[stage2]] data or [[page file]] data from standard input and converts them into PostScript data representing graphical musical notation which is sent to standard output. The following diagram illustrates the flow of data through ''muse2ps'':<br />
<br />
<br />
<center><br />
[[File:muse2ps-dataflow.svg]]<br />
</center><br />
<br />
The ''muse2ps'' program can accept two forms of input. By default, the ''muse2ps'' program will read multi-file [[stage2]] data from standard input. MuseData [[stage2]] files contain primarily symbolic musical data with possibly a little bit of formatting information (such as system and page breaks). The ''muse2ps'' program will format this symbolic music internally into [[page files]] which give explicit information about the placement of notes, slurs, beams, dynamics, lyrics, ''etc.'' on each page of music.<br />
<br />
Alternatively, if the <tt>=p</tt> option is given as an [[argument]] to ''muse2ps'', the program can read multi-file [[page files]] directly from standard input. Typically, [[stage2]] files are converted automatically into [[pages files]] and then further processing is done on these [[page files]] in order to produce a final typeset score of the graphical music notation. For example, the [[vskpage]] is used to refine the vertical spacing of staves and systems on a page of music within [[page files]], and [[eskpage]] is used to interactively edit the position of graphical elements within [[page files]].<br />
<br />
The only output from ''muse2ps'' (besides error messages) is PostScript data which describes the graphical music notation in a printable score of the music. This data can be further processed, such as sending directly to a PostScript printer, or converting into PDF files for web distrubution of the notated music. The representation of music notation within the PostScript file is in the form of bit-mapped musical fonts. The musical fonts are designed for use with 300 DPI resolution printers when printed at the native resolution (originally these fonts were designed for [http://en.wikipedia.org/wiki/Printer_Command_Language PCL-based printers]). These fonts have the unique feature of [http://en.wikipedia.org/wiki/Dither dithered] edges on sloped beams to minimize the visual effect of pixel stepping at 300 DPI resolution. Minor notation editing can be done on the PostScript/PDF files in programs such as Adobe Illustrator. If you print via PDF files, you may want to uncheck the page-scaling option in the printing program in order to avoid aliasing artifacts in the hard copy due to changing the intended size of the music on the page. <br />
<br />
Two other forms of data can be embedded within the PostScript output. If the <tt>=M</tt> option is given as an [[argument]] to the ''muse2ps'' program, then the original [[stage2]] data will be stored within comments in the PostScript data. Likewise, if the <tt>=P</tt> option is given, the [[page file]] data will be included in the PostScript output as comments. The [[page file]] data will either come from automatic generation using [[autoset]]/[[mskpage]], or from standard input if you use the <tt>=p</tt> option.<br />
<br />
There are also numerous options which primarily deal with the formatting of [[stage2]] files with the [[autoset]] and [[mskpage]] program components. See the [[#Options| options]] section below for a complete list of the options.<br />
<br />
== Download ==<br />
<br />
The ''muse2ps'' program executables for various operating systems or the source code can be downloaded from the following table. <b>Instructions for setting up the program for use can be found ''[[Muse2ps_installation_instructions| here]]''.</b><br />
<br />
<br />
<center><br />
{{muse2psdownloadtable}}<br />
</center><br />
<br />
== Online ==<br />
<br />
The ''muse2ps'' program can be run online at http://www.musedata.org/mdconverter . If you click on [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icons next to data found on the http://www.musedata.org website, the musical data will be loaded into this online converter from which PostScript, PDF, or PNG images of the music can be generated. <br />
<br />
For example, click on the [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icon on the information page for this [http://www.musedata.org/encodings/bach/bg/chorals/0428/ Bach chorale], then click on the {{keypress|Submit}} button on the converter page to generate a PDF file of the chorale with the default settings. Then try setting some options, such as using "<tt>[(.)(.)(.)(.)]</tt>" for the <b>System spine</b> option to prevent barlines from being drawn between staves in the score.<br />
<br />
You can create your own MuseData content and print with the online converter as well. Copy and paste the following MuseData content: [[Media:beethoven-kern.md2 | beethoven.md2]] into into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in this graphical music notation:<br />
<center><br />
[[Image:beethoven-kern.png]]<br />
</center><br />
<br />
== Command-line examples ==<br />
<br />
The simplest use of ''muse2ps'' is to send it MuseData [[stage2]] files as standard input, and save standard output from the program into a PostScript file:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps > [[Media:bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
<br />
You may need to use "<tt>./muse2ps</tt>" instead of "<tt>muse2ps</tt>" in the above command if the ''muse2ps'' program file is in the current directory, but the current directory is not in your [http://en.wikipedia.org/wiki/PATH_%28variable%29 command search path]. The PostScript output can then be further processed in an external program. Usually it is more convenient to work with the data as a PDF file. The process of converting PostScript to PDF can be done by many methods. For example, Acrobat Distiller or Acrobat Professional will convert PostScript files into PDF files. There are online converters, such as this one: http://www.ps2pdf.com/convert.htm . And on most linux computers you can convert PostScript into PDF files using the [http://pages.cs.wisc.edu/~ghost/doc/gnu/5.50/Ps2pdf.htm ps2pdf] command:<br />
ps2pdf [[Media:Bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
This will create the file [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]] (replacing the .ps extension with a .pdf extention automatically when saving the PDF file). If you click on the PDF file link in the previous sentence, you should see the musical notation for J.S. Bach's Well-Tempered Clavier, Book I, Prelude 1 in C major.<br />
<br />
An alternate method of using ps2pdf to generate a PDF file in a single step in conjunction with ''muse2ps'' would be with this command-line construction:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps | ps2pdf - > [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]]<br />
<br />
=== Last system justification ===<br />
<br />
By default ''muse2ps'' does not right-justify the last system of the music on the last page of the output (as can be seen in [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]]). If you<br />
want to justify the last system, use the <tt>=j</tt> option as an argument to ''muse2ps'':<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =j | ps2pdf - > [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]<br />
The ''muse2ps'' (or more precisely, the internal [[mskpage]] component) will possibly adjust line breaks on one or more of the previous systems in the score in order to fill enough music onto the last system, and then stretch or contract the music on the last system to fit the width between margins exactly. The <tt>=j</tt> option can potentially take significantly more time to process the input data than when it is omitted. The reason for the increased processing time can be seen by comparing [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]] and [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]. In order to right-justify the last system of the music, all systems in the music were recursively re-typeset so that the first system in the music contains only three measures instead of four.<br />
<br />
=== Grand-Staff vertical spacing ===<br />
<br />
The distance between staves in the grand staff (which is used for instruments such as the piano) can be controlled by the =g option. An integer number follows after the letter "g" in the option which specifies the distance between the two staves in terms of 1/10ths of the distance between staff lines. The default value for this option is =g100 which means that the distance between the top line of each staff is 10 staff lines.<br />
<br />
Here is an example of reducing the spacing between the staves to nothing. The =g50 option in this case means that the distance between the top of each staff is 5 staff lines. And since this is the height of a single staff, there will be no space between the two staves:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =g50 | ps2pdf - > [[Media:bach-wtc1p01-g50.pdf|bach-wtc1p01-g50.pdf]]<br />
<br />
<br />
=== Single-staff spacing in a system ===<br />
<br />
A ''system'' is a collection of staves which represent different instruments playing at the same time. The distance between these staves can be controlled with the =v option. Following =v is a list of comma-separated integers (with no intervening spaces). The unit for these numbers is the same as in the =g option: 1/10th of the distance between successive staff lines.<br />
<br />
The default spacing between staves will depend on whether they are supposed to be barred together or not. Here is the default spacing for four staves of a string quartet:<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
=== Using multiple options ===<br />
<br />
In the previous examples, the prelude is printed on two pages, with a single orphan system occurring on the second page. One way to force the music to fit onto a single page is to set the top margin from 120 pixels to 0 pixels with the option <tt>=t0</tt> and the printable length on the page to 3000 pixels (10 inches) with the option <tt>=l3000</tt>. When supplying multiple optional settings to muse2ps, there is only one option string which starts with the equals character (<tt>=</tt>) and is followed by all options with no spaces. Here is an example of using the <tt>=t0</tt>, <tt>=l3000</tt> and <tt>=j</tt> options at the same time, resulting in a single page of music:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =jt0l3000 | ps2pdf - > [[Media:bach-wtc1p01-jt0l3000.pdf|bach-wtc1p01-jt0l3000.pdf]]<br />
The order of the options in the option string is not important, so for example, "<tt>=l3000t0j</tt>" would yield the same results as "<tt>=jt0l3000</tt>".<br />
<br />
Instead of adjusting the vertical margins with the <tt>=t</tt> and <tt>=l</tt> options, you can also decrease the spacing between staves globally on the system. To do this, use the =v option followed by a list of distances between each staff on the system. In this example there are two staves in each system, so one value is expected after "=v". If there were three or more staves, then the vertical spacing values are separated by commas (and no spaces).<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =v160jt300 | ps2pdf - > [[Media:bach-wtc1p01-v160jt300.pdf|bach-wtc1p01-v160jt300.pdf]]<br />
<br />
In the above example, "<tt>=v160</tt>" means make the spacing between staves on the system slightly more than 1/2 an inch; "<tt>=j</tt>" means to right-justify the last system of music; and "<tt>t300</tt>" means add an extra inch to the top margin (the default setting is "<tt>=t120</tt>".<br />
<br />
=== Music size ===<br />
<br />
The ''muse2ps'' program can typeset music in several sizes: 6, 14, 16, 18 and 21. These numbers refer to the pixel count (at 300 DPI) between successive staff lines. For example, here is a zoom-in of music typeset using the size 6 font, where each staff line is one pixel wide, and there are 5 pixels in the gap between lines, making each staff line spaced every 6 pixels and hence the name "size 6":<br />
<br />
<center><br />
[[File:Dmuse-size6.png|411px]]<br />
</center><br />
<br />
<br />
The default size that ''muse2ps'' will typeset music in is size 14. To display the music at other sizes, use the <tt>=z</tt> option followed by the size. Here is the example prelude printed in all sizes (with right-justification of the last system using <tt>=j</tt> also added to the option string):<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z6j&nbsp;&nbsp;| ps2pdf - > [[Media:bach-wtc1p01-z6j.pdf|bach-wtc1p01-z6j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z14j | ps2pdf - > [[Media:bach-wtc1p01-z14j.pdf|bach-wtc1p01-z14j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z16j | ps2pdf - > [[Media:bach-wtc1p01-z16j.pdf|bach-wtc1p01-z16j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z18j | ps2pdf - > [[Media:bach-wtc1p01-z18j.pdf|bach-wtc1p01-z18j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z21j | ps2pdf - > [[Media:bach-wtc1p01-z21j.pdf|bach-wtc1p01-z21j.pdf]]<br />
<br />
Full-scores are typically printed at size 14 (particularly scores with many parts). Parts for performers are typically printed at sizes 18 or 21. Piano music is typically printed at size 16, and Size 18 has dither on two-pixel wide staff lines. The approximate equivalents to point sizes in regular text (multiplying by the factor 72/300 and then multiplying by 3):<br />
<br />
<center><br />
{| class="wikitable" cellpadding="0" cellspacing="0" border="0"<br />
|- |- {{Style|table header}}<br />
! scope="col" align="left" | MuseData music size<br />
! scope="col" align="left" | Staff height (mm)<br />
! score="col" align="left" | Approximate text font size<br />
! score="col" align="left" | Musical application<br />
|-<br />
| 6 || 2.03 mm || 4 pt || none<br />
|-<br />
| 14 || 4.74 mm || 10 pt || full scores<br />
|-<br />
| 16 || 5.42 mm || 11.5 pt || piano music, vocal scores<br />
|-<br />
| 18 || 6.10 mm || 13 pt || instrumental parts<br />
|-<br />
| 21 || 7.11 mm || 15 pt || large-size instrumental parts<br />
|}<br />
</center><br />
<br />
=== Extracting MPG intermediate data ===<br />
<br />
When a MuseData [[stage2]] file is converted into graphical music notation as PostScript output from ''muse2ps'', it will pass through two data transformation steps. The first step is a conversion from [[stage2]] data into non-page-specific [[i-files]] which is accomplished with the [[autoset]] component. Then these "non-page-specific" [[i-files]] are converted into "page-specific" [[page files|i-files]] (or Music Page (MPG) files) which describe the precise position of musical elements on each page of typeset music. This [[music page]] data can be extracted from the program surreptitiously by using the "=P" option. This will cause the [[MPG]] data to be embedded in comments within the PostScript output. Each page of MPG data will be stored in a sequence of comments starting with "<tt>%=BeginMPGData: 1</tt>", where <tt>1</tt> is the data for page one. And each page of MPG data is ended by the comment <tt>"%=EndMPGData: 1"</tt>.<br />
<br />
All MuseData/dmuse related comments in the PostScript output start with the comment marker "%=", so the MPG data can easily be separated from the PostScript content and other irrelevant comments in a manner such as this:<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =P | grep "^%=" > [[Media:Mpg-comments.txt|mpg-comments.txt]]<br />
The [[regular expression]] search string "<tt>^%=</tt>" used in the [http://en.wikipedia.org/wiki/Grep grep] command means extract lines from the input which start with the two characters "<tt>%=</tt>".<br />
<br />
A PERL utility program, called [[Media:unpackmpg.pl|unpackmpg]], for extracting the MPG data from the comments is included with the source code for ''muse2ps'':<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =Pg85jt200l3000 | [[Media:unpackmpg.pl|unpackmpg]] > [[Media:Mpg-comments.mpg|mpg-comments.mpg]]<br />
In the above command the options mean:<br />
* <tt>=P</tt>: Output [[music page]] data.<br />
* <tt>=g85</tt>: Set the distance between the staves in the grand staff to 8.5 staff lines (default is 100, or 10 staff lines).<br />
* <tt>=j</tt>: Right-justify the last system of the music.<br />
* <tt>=t200</tt>: Set the top margin to 2/3 of a inch below the base position.<br />
* <tt>=l3000</tt>: Set the vertical printable region to 10 inches.<br />
<br />
=== Inputting MPG data (adding a title) ===<br />
<br />
The extracted [[music page]] data from the previous section can be edited (such as to add a title) and then can be reprocessed by ''muse2ps'' to generate PostScript output:<br />
cat [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] | muse2ps =p | ps2pdf - > [[Media:Bach-wtc1p01-title.pdf|bach-wtc1p01-title.pdf]]<br />
<br />
In this case the file [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] is the equivalent to the MPG data generated by ''muse2ps'' in the previous section: [[Media:Mpg-comments.mpg|mpg-comments.mpg]], but with these three lines added to generate a title for the first page:<br />
<br />
<pre><br />
X 14<br />
X 46 1200C 0 Well-Tempered Clavier, Book I, Prelude 1 in C major<br />
X 37 1200C 50 BWV 846<br />
</pre><br />
<br />
The first line sets the font indexes relative to music size 14. The second line places the line at "1200C 0" which means center the line horizontally at location 1200 (4 inches from the left margin), and position the line vertically at position 0 (0 inches below the top margin).<br />
<br />
[[Music page]] data for many of the score on http://www.musedata.org are available as both [[stage2]] files and [[music page]] files. Using the [[music page]] files as input to ''muse2ps'' will generate better graphical notation results, since the automatically typeset data from the [[stage2]] files has been proofread and adjusted by a human.<br />
<br />
== Options ==<br />
<br />
Below is a list of the options which muse2ps understands. Options are given<br />
as the first (and only) argument to the program, starting with an equals sign (=), then followed by the options in any order, with no spaces between the options. For example, to set the music size to 18 and right-justify the last system on the last page, use the option string =z21j:<br />
cat file.md2 | muse2ps =z21j > file.ps<br />
When using characters which may be parsed by the command-line interpreter, you will have to enclose the option string in single quotes (you can do this all of the time if you are uncertain of the conditions in which they would be required):<br />
cat file.md2 | muse2ps '=z21js^{(..}}^T^title^' | ps2pdf - > file.pdf<br />
<br />
In option strings such as "=c<#>", replace <#> with an integer. <tt>[#]</tt> indicates an optional number.<br />
<br />
{|class="wikitable" cellpadding="0" cellspacing="0" border="0" style="width:100%"<br />
|- {{Style|table header}}<br />
! scope="col" width="100px" align="center"| muse2ps option index<br />
|-<br />
| <div style="column-count:3;-moz-column-count:3;-webkit-column-count:3"><br />
* {{nowrap|{{mopt|c}} compression}}<br />
* {{nowrap|{{mopt|C}} composer}}<br />
* {{nowrap|{{mopt|d}} diagnostics}}<br />
* {{nowrap|{{mopt|D}} dash spacing}}<br />
* {{nowrap|{{mopt|E}} eof insertion}}<br />
* {{nowrap|{{mopt|f}} fill by staff}}<br />
* {{nowrap|{{mopt|F}} fill by system}}<br />
* {{nowrap|{{mopt|g}} grand staff spacing}}<br />
* {{nowrap|{{mopt|G}} group selection}}<br />
* {{nowrap|{{mopt|h}} note space}}<br />
* {{nowrap|{{mopt|i}} indentation flag}}<br />
* {{nowrap|{{mopt|I}} indentation amount}}<br />
* {{nowrap|{{mopt|j}} justification}}<br />
* {{nowrap|{{mopt|k}} display options}}<br />
* {{nowrap|{{mopt|l}} page length}}<br />
* {{nowrap|{{mopt|m}} left margin}}<br />
* {{nowrap|{{mopt|M}} embed stage2 data}}<br />
* {{nowrap|{{mopt|n}} number of systems}}<br />
* {{nowrap|{{mopt|p}} page files input}}<br />
* {{nowrap|{{mopt|P}} embed page files}}<br />
* {{nowrap|{{mopt|Q}} min. dist. dur.}}<br />
* {{nowrap|{{mopt|s}} system spine}}<br />
* {{nowrap|{{mopt|S}} title/system space}}<br />
* {{nowrap|{{mopt|t}} top margin}}<br />
* {{nowrap|{{mopt|T}} title}}<br />
* {{nowrap|{{mopt|u}} subtitle}}<br />
* {{nowrap|{{mopt|v}} staff spacing}}<br />
* {{nowrap|{{mopt|w}} system width}}<br />
* {{nowrap|{{mopt|W}} thin barlines}}<br />
* {{nowrap|{{mopt|x}} no suggestions}}<br />
* {{nowrap|{{mopt|X}} no last barline}}<br />
* {{nowrap|{{mopt|y}} no line controls}}<br />
* {{nowrap|{{mopt|Y}} no initial time sig.}}<br />
* {{nowrap|{{mopt|z}} music size}}<br />
</div><br />
|}<br />
<br><br />
<br />
See also the Dmuse text file [[Media:muse2ps-options.dm | options.dm]], or the HTML equivalent [[Media:muse2ps-options.html| options.html]] for a brief description of each option.<br />
<br />
{| style="background-color:white" cellpadding="4"<br />
|- valign="top"<br />
| {{anchor|c_option}}<b>=c</b><#>|| Compression factor: This is measured as a percentage of the default. 100 = no compression (100%). Use smaller values to decrease the spacing between notes (allowing fewer pages in the score). Values larger than 100 will expand the distance between notes (increasing the number of pages in the score). This option is useful to force the last system of music to occur at the bottom of a page.<br />
<br />
|- valign="top"<br />
|{{anchor|C_option}}<b>=C</b>^string^ || Display the ''string'' as the composer's name at the top right side of the first page. See <b>=T</b> for the title, and <b>=u</b> for the sub-title. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|d_option}}<b>=d</b><#> || Diagnostics and Error Messages.<br />
bit 0 of #: ON = print error messages<br />
bit 1 of #: ON = print all diagnostics<br />
bit 2 of #: ON = print diagnostics from autoset<br />
bit 3 of #: ON = print diagnostics from mskpage<br />
bit 4 of #: ON = print diagnostics from pspage<br />
no number = 0x01: print error messages<br />
For example, =d31 turns on all error message toggles. This option is useful if the output PostScript data from muse2ps is empty. The messages go to standard error, while the PostScript data goes to standard output. Therefore, you can print the error messages and still save or pipe the PostScript data without the error messages mixing with the output data.<br />
<br />
|- valign="top"<br />
| {{anchor|D_option}}<b>=D</b> || spacing between dashes. Will override spacing in stage2 files: 0 = use default, >0 = space between dashes (units are dash-length)<br />
<br />
|- valign="top"<br />
| {{anchor|E_option}}<b>=E</b> || <tt>/END</tt> = <tt>/eof</tt>. The muse2ps program allows for multiple parts to be entered from standard input in a single stream of data. Normally the data files representing each part are separated from each other by a line containing only "<tt>/eof</tt>" (lowercase; meaning "End of File"). Separate MuseData [[stage2]] files do not typically end in "<tt>/eof</tt>", but rather, they are required to contain the line "<tt>/END</tt>" (uppercase) to indicate the end of the data. After "<tt>/END</tt>", any textual comments are allowed. With the =E option, you do not need to separate files by "<tt>/eof</tt>", and instead, the next file in the sequence will start on the line coming after "<tt>/END</tt>". Note, however, that you cannot use the =E option if there is any commentary after "<tt>/END</tt>" in a file.<br />
<br />
|- valign="top"<br />
| {{anchor|f_option}}<b>=f</b> || Fill pages to the bottom by proportionally stretching all spacings. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|F_option}}<b>=F</b> || Fill pages to the bottom by adding to the intersystem space only. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|g_option}}<b>=g</b><#>|| Grand staff intra-space measured in multiples of ledger lines times 10. The default is 100, which is 10 ledger lines. Note that this distance reference is different from the =v values which define the distance from the top of one staff to the top of the next staff. For the =g, option, the distance is from the bottom of the top staff to the top of the bottom staff.<br />
<br />
|- valign="top"<br />
| {{anchor|G_option}}<b>=G</b>^group-name^ || Group name to process. The default is "score". Available groups are found on data line 11 at the top of each MuseData [[stage2]] file (excluding any single- or multi-line comments). Other possibilities might be "part" or "data".<br />
<br />
|- valign="top"<br />
| {{anchor|h_option}}<b>=h</b><#> || Alter the minimum allowed space between notes. This is measured as a percentage of the default. 100 = no change (100%).<br />
<br />
|- valign="top"<br />
|{{anchor|i_option}}<b>=i</b><#> || Initial system indentation options flag.<br />
* 0 = use program defaults (set indentation with <tt>=I</tt> option).<br />
* 1 = no indentation of first system of music<br />
* 2 = indent first system, and after every forced system break.<br />
<br />
|- valign="top"<br />
| {{anchor|I_option}}<b>=I</b><#> || Specify the indentation amount for the first system in the music. If zero, then default indentation amount will be used. (see the <tt>=i</tt> option for turning off indentation).<br />
<br />
|- valign="top"<br />
|{{anchor|j_option}}<b>=j</b> || Right-justify the last system of the music so that it extends all of the way across the page. The default is NOT to right justify. Right-justification is a recursive process where measures from previous systems may be moved ahead in the score to cause all systems to have approximately the same note density.<br />
<br />
|- valign="top"<br />
| {{anchor|k_option}}<b>=k</b>^0x<tt>#</tt>^ || Display alternative options. Options are stored in a hexadecimal number prefixed with the string "<tt>0x</tt>" (C program-styled hex number). The default values are the 0 bit settings. The meaning of the bits in the hexadecimal number are (from least significant to most significant bit):<br />
<br />
<table cellpadding=0 cellspacing=0><br />
<tr valign=baseline><th>bit</th><td width=10></td><th>meaning</th></tr><br />
<br />
<tr valign=baseline><td>0</td><td></td><td><br />
<b>k-option activation flag</b><br />
* 1: <i>k</i> option is active, read options in more significant bits.<br />
* 0: <i>k</i> option is inactive. Used to turn off this option as a command-line over-ride.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>1</td><td></td><td><br />
<b>Sforzando/rfz flag</b><br />
* 0: display sforzando as sf (rf)<br />
* 1: display sforzando as sfz (rfz)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>2</td><td></td><td><br />
<b>Sub-edit flag</b><br />
* 0: diplay editorial markup differently from regular data (such as adding brackets around editorial elements).<br />
* 1: do not display editorial data differently from regular data.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>3</td><td></td><td><br />
<b>No-editorial flag</b><br />
* 0: display editorial markup data.<br />
* 1: do not display editorial markup data.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>4</td><td></td><td><br />
<b> Editorial markup in Roman font flag</b><br />
* 0: use cue-size music fonts for editorial marks.<br />
* 1: use Times-Roan font for editorial marks: tr, dynamics<br />
</td></tr><br />
<br />
<tr valign=baseline><td>5</td><td></td><td><br />
<b>Ligature flag</b><br />
* 0: do not use ligatures in text.<br />
* 1: use ligatures for "ffl", "ffi", "ff", "fl", and "fi".<br />
</td></tr><br />
<br />
<tr valign=baseline><td>6</td><td></td><td><br />
<b>figured harmony flag</b><br />
* 0: place figured harmony (figured bass) below the staff.<br />
* 1: place figured harmony (figured bass) above the staff.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>7</td><td></td><td><br />
<b> mheavy4 barline style flag</b><br />
* 0: mheavy4 barline represented by two heavy lines.<br />
* 1: mheavy4 barline represented by one thin, one thick, and then another thin line.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>8</td><td></td><td><br />
<b>Multi-voice augmentation dot option</b><br />
* 0: allow overstrike of dots in different voices.<br />
* 1: do now allow overstrike<br />
</td></tr><br />
<br />
<tr valign=baseline><td>9</td><td></td><td><br />
<b>New key signatures option</b><br />
* 0: don't print a new key signature if it is the same as the previous one on the staff.<br />
* 1: print a new key signature even if it repeats the previous key signature on the staff.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>10</td><td></td><td><br />
<b>Mixed rhythm chords</b><br />
* 0: Don't allow a mixture of white and black notes in chords.<br />
* 1: Allow mixture of white and black notes in chords.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>11</td><td></td><td><br />
<b>Suppress key signature flag </b><br />
* 0: display key signatures<br />
* 1: suppress printing of the key signature (such as for timpani parts).<br />
</td></tr><br />
<br />
<tr valign=baseline><td>12</td><td></td><td><br />
<b>Editorial slurs flag</b><br />
* 0: all slurs are regular.<br />
* 1: <tt>{ }</tt> amd <tt>z x</tt> slurs are editorial slurs (dashed slurs).<br />
</td></tr><br />
<br />
<tr valign=baseline><td>13</td><td></td><td><br />
<b>New clef sign flag </b><br />
* 0: Large clefs at start of system, cue-size clefs for clef changes.<br />
* 1: Always use large clefs.<br />
</td></tr><br />
<br />
</table><br />
<br />
|- valign="top"<br />
| {{anchor|l_option}}<b>=l</b><#>|| Length of a page. Distance is measured dots, at 300 dots to the inch. Default is 2740 dots. The default starting height is 120 dots. This will not be lowered, but may be raised to accommodate a longer page.<br />
<br />
|- valign="top"<br />
| {{anchor|m_option}}<b>=m</b><#> || Left margin, measured in at 300 dots/inch. The default is 200 dots<br />
<br />
|- valign="top"<br />
| {{anchor|M_option}}<b>=M</b> || include the contents of the MuseData source files in the Trailer section of the file embedded in PostScript comments (if MuseData [[stage2]] files are used as input.<br />
<br />
|- valign="top"<br />
| {{anchor|n_option}}<b>=n</b><#> || Maximum number of systems on a page. The default is no maximum.<br />
<br />
|- valign="top"<br />
| {{anchor|p_option}}<b>=p</b> || The source is a concatenated set of page specific i-files (also called .mpg files), not a set of MuseData files.<br />
<br />
|- valign="top"<br />
| {{anchor|P_option}}<b>=P</b> || include listings of the page specific i-files, which are the source of the output PostScript data. Each page is separated<br />
<br />
|- valign="top"<br />
| {{anchor|Q_option}}<b>=Q</b><#> || Duration which is assigned the minimum distance<br />
1 = whole notes<br />
... . . .<br />
8 = eighth notes<br />
16 = sixteenth notes, etc<br />
<br />
|- valign="top"<br />
| {{anchor|s_option}}<b>=s</b>^string^ || Custom left-hand spine. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=s^[(....)][(..)](.)[({..}..)]^<br />
Each dot in the system bracketing string represents one part, with the first dot in the string representing the top staff of the system. If a grand-staff is used for any part, then use the colon character (:) for that part. Staves which should be bracketed together are enclosed in square brackets: <tt>[]</tt>. Staves which should be braced together are enclosed in curly braces: <tt>{}</tt>. Staves which should be barred together (barlines connecting between staves) are enclosed in parentheses: <tt>()</tt>. The caret character (^) is used to mark the start and top of the option string. Subsequent options occur immediately after the second caret character with no intervening space.<br />
<br />
|- valign="top"<br />
| {{anchor|S_option}}<b>=S</b><#> || Add extra space between the title and the first system of music: 0 = use default, >0 = lower the first system (units are 1/300th of an inch).<br />
<br />
|- valign="top"<br />
|{{anchor|t_option}}<b>=t</b><#> || Top of page. Default is 120 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|T_option}}<b>=T</b>^string^ || Display the ''string'' as a title at the top of the (first) page. See <b>=u</b> for sub-title, and <b>=C</b> for composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|u_option}}<b>=u</b>^string^ || Display the ''string'' as a sub-title at the top of the (first) page. See <b>=T</b> for the title, and <b>=C</b> for the composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|v_option}}<b>=v</b><#,#,#...#> || Custom spacings. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=v192,192,192,208,192,208,176,176,176,200<br />
The above example setting for the =v option can be used for a system with 8 parts (such as 4 woodwinds, 2 horns, and 4 string instruments). The first seven values describe the spacing between each staff in the system, and the last value is the spacing between systems on the page. The spacing between staves and systems is constant with muse2ps. The spacing values are 1/10th of the distance between two staff lines, and the spacing value is the distance from the top of one staff to the top of the next staff (or the top of the last staff on a system to the top of the staff on the next system for the last value in the list). See the <tt>=g</tt> option for spacing the staves of a grand staff (such as for piano music). When a grand staff is part of a system with more parts, then the distance between the grand staff and the next system is the distance between the top of the bottom staff of the grand-staff pair and the top of the next staff.<br />
<br />
|- valign="top"<br />
| {{anchor|w_option}}<b>=w</b><#> || System width, measured in at 300 dots/inch. The default is 2050 dots<br />
<br />
|- valign="top"<br />
| {{anchor|W_option}}<b>=W</b>[#] || Thin barline flag. 0 = use regular barlines. 1 = use thin barlines. No number after <tt>=W</tt> means the same as <tt>=W0</tt>.<br />
<br />
|- valign="top"<br />
| {{anchor|x_option}}<b>=x</b> || Defeat all part inclusion suggestions in the data<br />
<br />
|- valign="top"<br />
| {{anchor|X_option}}<b>=X</b>[#] || Leave off the last barline (for short examples). 0 = print last bar, 1 = don't print last bar, <tt>=X</tt> without a number is equivalent to <tt>=X1</tt>. Note: you can add extra staff line space in the last bar by putting in <tt>irest</tt>s, but you must put <tt>irest</tt>s in all parts ,and they must all represent the same note type (duration). Note also: If the last bar line is anything but a regular measure line, it will continue to print.<br />
<br />
|- valign="top"<br />
|{{anchor|y_option}}<b>=y</b> || Defeat all line control suggestions in the data<br />
<br />
|- valign="top"<br />
|{{anchor|Y_option}}<b>=Y</b><#> || Suppress printing first time signature in score. Used for printing small examples which have a time signature in the data, but none desired in graphical notation. You can also use a time signature in the data of "<tt>T:9/0</tt>" to generate a <i>hidden</i> time signature, and not giving a time signature at the start of a file will result in not time signature being printed. 0 = print initial time signatures (used to override options embedded in data). 1 = suppress first time signature (<tt>=Y</tt> is equivalent to <tt>=Y1</tt>).<br />
<br />
|- valign="top"<br />
| {{anchor|z_option}}<b>=z</b><#> || Music size: choices are 6,14,16,18,21. 14 is the default. This value describes the distance between staff lines in units of 300 dots per inch.<br />
<br />
|}<br />
<br />
== Multi-file input specification ==<br />
<br />
Normally individual MuseData [[stage2]] files contain a single part. These part files are concatenated together and sent via standard input into the muse2ps program. In order for the muse2ps program to be able to segment the separate part files from the original stream the marked "<tt>/eof</tt>" is added after the last line in each file, and the marker "<tt>//</tt>" is ''required'' after the end of all datafile input into muse2ps. <br />
<br />
Typically the last line of a [[stage2]] MuseData file consists of the string "<tt>/END</tt>" (in uppercase), so add the line "<tt>/eof</tt>" (in lowercase) after it: <br />
/END<br />
/eof<br />
<br />
The very last three lines of input to muse2ps should should look like this:<br />
<br />
/END<br />
/eof<br />
//<br />
<br />
If you specify the =E option when running muse2ps, the "<tt>/END</tt>" markers will be used to segment the separate part files internally.<br />
<br />
The PERL script [[Media:collatemd2.pl|collatemd2]] (included with the source code to muse2ps) can be used to concatenate multiple [[stage2]] part files into a single input stream for muse2ps. The output of the PERL script can be saved to a file for later processing with muse2ps. In this case the recommended file extension for the multi-file MuseData content is <b>.md2</b> . Here are example uses of [[Media:collatemd2.pl|collatemd2]]:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
You many have to type "<tt>./collatemd2</tt>" instead of "<tt>collatemd2</tt>" if the perl program is in the current directory and the current directory is not in the command search path. If you download the program from this page, remove the .pl extension when saving (and use a lower-case first letter for the filename). You may have to set the permissions to allow it to be run as a program with the unix command: <tt>chmod 0755 collatemd2</tt>.<br />
<br />
Alternatively, you can save the output from [[Media:collatemd2.pl|collatemd2]] into a file for later use with muse2ps:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] > [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]]<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
When downloading MuseData [[stage2]] files from http://www.musedata.org , the parts are all combined into a single multi-file MuseData file which is the equivalent to the output from [[Media:collatemd2.pl|collatemd2]].<br />
<br />
=== Multiple Music Page files ===<br />
<br />
When concatenating multiple Music Page (MPG) files, separate each file's content with a line with the single capital letter "P" on it. Example of how to do this on the command line, creating a PDF file:<br />
<br />
<source lang="bash"><br />
for i in ??<br />
do<br />
cat $i<br />
echo P<br />
done | muse2ps =p | ps2pdf - - > output.pdf<br />
</source><br />
<br />
N.B.: Probably two slashes also need to be added at the end of the last page; otherwise, it will not print:<br />
<br />
//<br />
<br />
== Color highlighting ==<br />
<br />
A soon-to-be released update of muse2ps will allow for coloring of notes in the score. This colorization can be used in conjunction with displaying search results, or highlighting notes in an example. <br />
<br />
If you place an "R" character in column 14 for note (or rest) records, That note will be highlighted red. A capital "R" will also highlight the stem of the note, while a lower case "r" will color only the notehead. If multiple colored notes all share a common beam, then that beam is also highlighted.<br />
<br />
The letter "B" can be used in column 14 to color notes blue, and the letter "G" can be used to color notes green. The lowercase versions "r" and "g" can be used to color only the noteheads and not the stems.<br />
<br />
== Embedded options ==<br />
<br />
The <i>muse2ps</i> program can read options sent in the input data stream. Options can be embedded in the input data as single-line comments. In [[stage2]] files, single-line comments start with an at-sign (<tt>@</tt>) in the first column of the line. Following the comment marker comes an option identification string "<tt>muse2psv1</tt>", with "<tt>v1</tt>" being the option version level (currently level 1, and can be used in the future to keep options backwards and forwards compatible. Default options, listed in the previous section describing the options, can be overridden by using the default option setting method which adds two equal signs in a row, followed by any options. Multiple default option <br />
comments may occur to prevent the length of the line from getting too long (it is a good idea to limit the length of the line for full backwards compatibility with dmuse and [[stage2]] files, although the current line limit in dmuse/muse2ps is 900 characters).<br />
<br />
Option for specific music sizes can be set by placing the size option between the two equals signs in the option comment. Here is an example option comment header:<br />
<br />
@muse2psv1==z18<br />
@muse2psv1==T^Bach Chorale^u^bwv-277^C^J.S. Bach (1685-1750)^<br />
@muse2psv1=z14=v200,155,155,155j<br />
@muse2psv1=z18=v240,195,195,195j<br />
@muse2psv1=z21=v300,230,230,230j<br />
<br />
The first two lines are default option settings for all music sizes. The first line sets the default music size to 18 if no size is given on the command line to muse2ps. The second line sets the title, subtitle, and composer fields on the title page. The last three lines set the vertical spacing between staves at various music sizes; the first for size 14, then size 18, and the last line for size 21.<br />
<br />
== ps2pdf options ==<br />
<br />
The default behavior of the ps2pdf program is to assume that the input data is formatted for A4 paper. The default output size for muse2ps is US letter. In order for ps2pdf to generate output pages with the correct dimensions, add the option <tt>-sPAPERSIZE=letter</tt> as an argument to the program:<br />
ps2pdf -sPAPERSIZE=letter<br />
<br />
Another pair of useful options (not needed for output from muse2ps, but useful when adding footers at later states in data program) embed the fonts used in the file:<br />
ps2pdf -sPAPERSIZE=letter -dCompatibilityLevel=1.4 -dPDFSETTINGS=/prepress<br />
<br />
For example the Symbol font is not present on the Apple iPad PDF viewer. When using the options in this example, the Symbol font (or the portion used) would be embedded in the file and therefore viewable on an iPad.<br />
<br />
== Creating images ==<br />
<br />
Graphical images can be created in various ways. A good method is to convert PostScript output from muse2ps to a bitmap image with the unix command-line program pstopnm. For smaller examples and converting to other images formtas, Imagemagick's convert is another command-line which is useful. Both pstopnm and convert are often pre-installed on linux computers, and both are available for free on the internet. They should also work with OS X, and can be used in MS Windows using [http://www.cygwin.com cygwin].<br />
<br />
To create an image pipe the output from muse2ps into pstopnm, and convert to a bitmapped image at 300 dots per inch. Next pipe the resulting image to convert for further processing. In the following example, the image is first trimmed from a full page to just the area which contains the printed music, then the image is resized to 33% of the original size for use on the web, and saved into a PNG file.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -resize '33%' [[Media:scale.png|scale.png]]<br />
<br />
=== Transparent background ===<br />
<br />
Use the options <tt>-negate -alpha copy -negate</tt> to make the background of the image transparent so that it can be displayed on any background color. Here is the example image which was just created with the above command:<br />
<br />
[[Image:scale.png]]<br />
<br />
Notice that the background color of the image is white, which becomes noticeable when placing the image on a non-white background color. Now create an image with a transparent background:<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -negate -alpha copy -negate \<br />
-resize '33%' [[Media:scale-transparent.png|scale.png]]<br />
<center><br />
<table cellspacing=0 cellpadding=3><tr bgcolor=#ffffff><td bgcolor=#4499aa><br />
[[Image:scale-transparent.png]]<br />
</td><td width=10><br />
<td bgcolor=#ffaa44>[[Image:scale-transparent.png]]<br />
</td></tr></table></center><br />
<br />
<br />
=== Images for printed publications ===<br />
<br />
To insert musical examples in a Microsoft or similar word processing program, do not resize the image, but leave it at the 300 dots per inch size of the original. Then you can rescale the image in the word processor as necessary. This will optimize the quality of the image in the final printout from the word processor.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim [[Media:scale-large.png|scale.png]]<br />
<br />
== Humdrum interface ==<br />
<br />
The muse2ps program can be used in conjunction with the [http://extra.humdrum.org/man/hum2muse hum2muse] program. Here is an example of how to create graphical music notation using the following Humdrum data as an example:<br />
<br />
<table cellspacing=0><tr bgcolor=white valign=top><td><htmlet>beethoven-kern</htmlet></td><br />
<td width=10></td><br />
<td> <br />
<pre><br />
hum2muse file.krn | muse2ps \<br />
| ps2pdf - - > file.png<br />
</pre><br />
[[Image:beethoven-kern.png]] <br />
<br><br />
<br><br />
<br><br />
</td><br />
</tr><br />
</table><br />
<br />
Images can be generated from Humdrum data online by pasting/typing data into the [http://kern.humdrum.org/cgi-bin/kern/kseditor Humdrum online editor]. For example, copy and paste the above Humdrum data into the left black box on the Humdrum online editor page, and the click on the red "Generate" button to produce an image of the graphical music using the default settings.<br />
<br />
Here is the intermediate MuseData which is passed between [http://extra.humdrum.org/man/hum2muse hum2muse] and muse2ps: [[Media:beethoven-kern.md2 | beethoven.md2]]. Try copying / pasting<br />
this data into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in the same music notation as seen above.<br />
<br />
== Zbex programs ==<br />
<br />
In the muse2ps source code directory, the sub-directory <tt>zprogs</tt> contains the [[zbex]] programs used to generate the file zfun32.c. Most necessary files needed to create [http://www.ccarh.org/software/muse2ps/muse2ps/zfun32.c zfun32.c] are in that directory, but perhaps not all of them. These programs are not used directly by muse2ps, but are compiled into zbex executable code within zfun32.c. The muse2ps is essentially a non-interactive version of [[dmuse]] (see http://dmuse.ccarh.org). The [[dmuse]] program is a text editor which also has a built-in [[zbex]] language interpreter and graphical music display capabilities. The interpreter portion of [[dmuse]] has been extracted for non-interactive use in muse2ps.<br />
<br />
== Examples == <br />
<br />
Further examples of MuseData [[stage2]] files converted into graphical music notation with muse2ps can be found on the [[MuseData examples]] page.<br />
<br />
== Feature requests and bug reports ==<br />
<br />
See the page: [[Muse2ps feature requests and bug reports]].</div>Edchttps://wiki.ccarh.org/index.php?title=Muse2ps&diff=10501Muse2ps2021-03-30T14:37:51Z<p>Edc: /* Options */</p>
<hr />
<div>__TOC__<br />
<br />
== Overview == <br />
<br />
The <b>muse2ps</b> program is a command-line version of the [[autoset]], [[mskpage]] and [[pspage]] programs which are usually run within the [[dmuse]] editor using the built-in [[zbex language]] interpreter. The ''muse2ps'' program reads MuseData [[stage2]] data or [[page file]] data from standard input and converts them into PostScript data representing graphical musical notation which is sent to standard output. The following diagram illustrates the flow of data through ''muse2ps'':<br />
<br />
<br />
<center><br />
[[File:muse2ps-dataflow.svg]]<br />
</center><br />
<br />
The ''muse2ps'' program can accept two forms of input. By default, the ''muse2ps'' program will read multi-file [[stage2]] data from standard input. MuseData [[stage2]] files contain primarily symbolic musical data with possibly a little bit of formatting information (such as system and page breaks). The ''muse2ps'' program will format this symbolic music internally into [[page files]] which give explicit information about the placement of notes, slurs, beams, dynamics, lyrics, ''etc.'' on each page of music.<br />
<br />
Alternatively, if the <tt>=p</tt> option is given as an [[argument]] to ''muse2ps'', the program can read multi-file [[page files]] directly from standard input. Typically, [[stage2]] files are converted automatically into [[pages files]] and then further processing is done on these [[page files]] in order to produce a final typeset score of the graphical music notation. For example, the [[vskpage]] is used to refine the vertical spacing of staves and systems on a page of music within [[page files]], and [[eskpage]] is used to interactively edit the position of graphical elements within [[page files]].<br />
<br />
The only output from ''muse2ps'' (besides error messages) is PostScript data which describes the graphical music notation in a printable score of the music. This data can be further processed, such as sending directly to a PostScript printer, or converting into PDF files for web distrubution of the notated music. The representation of music notation within the PostScript file is in the form of bit-mapped musical fonts. The musical fonts are designed for use with 300 DPI resolution printers when printed at the native resolution (originally these fonts were designed for [http://en.wikipedia.org/wiki/Printer_Command_Language PCL-based printers]). These fonts have the unique feature of [http://en.wikipedia.org/wiki/Dither dithered] edges on sloped beams to minimize the visual effect of pixel stepping at 300 DPI resolution. Minor notation editing can be done on the PostScript/PDF files in programs such as Adobe Illustrator. If you print via PDF files, you may want to uncheck the page-scaling option in the printing program in order to avoid aliasing artifacts in the hard copy due to changing the intended size of the music on the page. <br />
<br />
Two other forms of data can be embedded within the PostScript output. If the <tt>=M</tt> option is given as an [[argument]] to the ''muse2ps'' program, then the original [[stage2]] data will be stored within comments in the PostScript data. Likewise, if the <tt>=P</tt> option is given, the [[page file]] data will be included in the PostScript output as comments. The [[page file]] data will either come from automatic generation using [[autoset]]/[[mskpage]], or from standard input if you use the <tt>=p</tt> option.<br />
<br />
There are also numerous options which primarily deal with the formatting of [[stage2]] files with the [[autoset]] and [[mskpage]] program components. See the [[#Options| options]] section below for a complete list of the options.<br />
<br />
== Download ==<br />
<br />
The ''muse2ps'' program executables for various operating systems or the source code can be downloaded from the following table. <b>Instructions for setting up the program for use can be found ''[[Muse2ps_installation_instructions| here]]''.</b><br />
<br />
<br />
<center><br />
{{muse2psdownloadtable}}<br />
</center><br />
<br />
== Online ==<br />
<br />
The ''muse2ps'' program can be run online at http://www.musedata.org/mdconverter . If you click on [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icons next to data found on the http://www.musedata.org website, the musical data will be loaded into this online converter from which PostScript, PDF, or PNG images of the music can be generated. <br />
<br />
For example, click on the [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icon on the information page for this [http://www.musedata.org/encodings/bach/bg/chorals/0428/ Bach chorale], then click on the {{keypress|Submit}} button on the converter page to generate a PDF file of the chorale with the default settings. Then try setting some options, such as using "<tt>[(.)(.)(.)(.)]</tt>" for the <b>System spine</b> option to prevent barlines from being drawn between staves in the score.<br />
<br />
You can create your own MuseData content and print with the online converter as well. Copy and paste the following MuseData content: [[Media:beethoven-kern.md2 | beethoven.md2]] into into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in this graphical music notation:<br />
<center><br />
[[Image:beethoven-kern.png]]<br />
</center><br />
<br />
== Command-line examples ==<br />
<br />
The simplest use of ''muse2ps'' is to send it MuseData [[stage2]] files as standard input, and save standard output from the program into a PostScript file:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps > [[Media:bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
<br />
You may need to use "<tt>./muse2ps</tt>" instead of "<tt>muse2ps</tt>" in the above command if the ''muse2ps'' program file is in the current directory, but the current directory is not in your [http://en.wikipedia.org/wiki/PATH_%28variable%29 command search path]. The PostScript output can then be further processed in an external program. Usually it is more convenient to work with the data as a PDF file. The process of converting PostScript to PDF can be done by many methods. For example, Acrobat Distiller or Acrobat Professional will convert PostScript files into PDF files. There are online converters, such as this one: http://www.ps2pdf.com/convert.htm . And on most linux computers you can convert PostScript into PDF files using the [http://pages.cs.wisc.edu/~ghost/doc/gnu/5.50/Ps2pdf.htm ps2pdf] command:<br />
ps2pdf [[Media:Bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
This will create the file [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]] (replacing the .ps extension with a .pdf extention automatically when saving the PDF file). If you click on the PDF file link in the previous sentence, you should see the musical notation for J.S. Bach's Well-Tempered Clavier, Book I, Prelude 1 in C major.<br />
<br />
An alternate method of using ps2pdf to generate a PDF file in a single step in conjunction with ''muse2ps'' would be with this command-line construction:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps | ps2pdf - > [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]]<br />
<br />
=== Last system justification ===<br />
<br />
By default ''muse2ps'' does not right-justify the last system of the music on the last page of the output (as can be seen in [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]]). If you<br />
want to justify the last system, use the <tt>=j</tt> option as an argument to ''muse2ps'':<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =j | ps2pdf - > [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]<br />
The ''muse2ps'' (or more precisely, the internal [[mskpage]] component) will possibly adjust line breaks on one or more of the previous systems in the score in order to fill enough music onto the last system, and then stretch or contract the music on the last system to fit the width between margins exactly. The <tt>=j</tt> option can potentially take significantly more time to process the input data than when it is omitted. The reason for the increased processing time can be seen by comparing [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]] and [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]. In order to right-justify the last system of the music, all systems in the music were recursively re-typeset so that the first system in the music contains only three measures instead of four.<br />
<br />
=== Grand-Staff vertical spacing ===<br />
<br />
The distance between staves in the grand staff (which is used for instruments such as the piano) can be controlled by the =g option. An integer number follows after the letter "g" in the option which specifies the distance between the two staves in terms of 1/10ths of the distance between staff lines. The default value for this option is =g100 which means that the distance between the top line of each staff is 10 staff lines.<br />
<br />
Here is an example of reducing the spacing between the staves to nothing. The =g50 option in this case means that the distance between the top of each staff is 5 staff lines. And since this is the height of a single staff, there will be no space between the two staves:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =g50 | ps2pdf - > [[Media:bach-wtc1p01-g50.pdf|bach-wtc1p01-g50.pdf]]<br />
<br />
<br />
=== Single-staff spacing in a system ===<br />
<br />
A ''system'' is a collection of staves which represent different instruments playing at the same time. The distance between these staves can be controlled with the =v option. Following =v is a list of comma-separated integers (with no intervening spaces). The unit for these numbers is the same as in the =g option: 1/10th of the distance between successive staff lines.<br />
<br />
The default spacing between staves will depend on whether they are supposed to be barred together or not. Here is the default spacing for four staves of a string quartet:<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
=== Using multiple options ===<br />
<br />
In the previous examples, the prelude is printed on two pages, with a single orphan system occurring on the second page. One way to force the music to fit onto a single page is to set the top margin from 120 pixels to 0 pixels with the option <tt>=t0</tt> and the printable length on the page to 3000 pixels (10 inches) with the option <tt>=l3000</tt>. When supplying multiple optional settings to muse2ps, there is only one option string which starts with the equals character (<tt>=</tt>) and is followed by all options with no spaces. Here is an example of using the <tt>=t0</tt>, <tt>=l3000</tt> and <tt>=j</tt> options at the same time, resulting in a single page of music:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =jt0l3000 | ps2pdf - > [[Media:bach-wtc1p01-jt0l3000.pdf|bach-wtc1p01-jt0l3000.pdf]]<br />
The order of the options in the option string is not important, so for example, "<tt>=l3000t0j</tt>" would yield the same results as "<tt>=jt0l3000</tt>".<br />
<br />
Instead of adjusting the vertical margins with the <tt>=t</tt> and <tt>=l</tt> options, you can also decrease the spacing between staves globally on the system. To do this, use the =v option followed by a list of distances between each staff on the system. In this example there are two staves in each system, so one value is expected after "=v". If there were three or more staves, then the vertical spacing values are separated by commas (and no spaces).<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =v160jt300 | ps2pdf - > [[Media:bach-wtc1p01-v160jt300.pdf|bach-wtc1p01-v160jt300.pdf]]<br />
<br />
In the above example, "<tt>=v160</tt>" means make the spacing between staves on the system slightly more than 1/2 an inch; "<tt>=j</tt>" means to right-justify the last system of music; and "<tt>t300</tt>" means add an extra inch to the top margin (the default setting is "<tt>=t120</tt>".<br />
<br />
=== Music size ===<br />
<br />
The ''muse2ps'' program can typeset music in several sizes: 6, 14, 16, 18 and 21. These numbers refer to the pixel count (at 300 DPI) between successive staff lines. For example, here is a zoom-in of music typeset using the size 6 font, where each staff line is one pixel wide, and there are 5 pixels in the gap between lines, making each staff line spaced every 6 pixels and hence the name "size 6":<br />
<br />
<center><br />
[[File:Dmuse-size6.png|411px]]<br />
</center><br />
<br />
<br />
The default size that ''muse2ps'' will typeset music in is size 14. To display the music at other sizes, use the <tt>=z</tt> option followed by the size. Here is the example prelude printed in all sizes (with right-justification of the last system using <tt>=j</tt> also added to the option string):<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z6j&nbsp;&nbsp;| ps2pdf - > [[Media:bach-wtc1p01-z6j.pdf|bach-wtc1p01-z6j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z14j | ps2pdf - > [[Media:bach-wtc1p01-z14j.pdf|bach-wtc1p01-z14j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z16j | ps2pdf - > [[Media:bach-wtc1p01-z16j.pdf|bach-wtc1p01-z16j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z18j | ps2pdf - > [[Media:bach-wtc1p01-z18j.pdf|bach-wtc1p01-z18j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z21j | ps2pdf - > [[Media:bach-wtc1p01-z21j.pdf|bach-wtc1p01-z21j.pdf]]<br />
<br />
Full-scores are typically printed at size 14 (particularly scores with many parts). Parts for performers are typically printed at sizes 18 or 21. Piano music is typically printed at size 16, and Size 18 has dither on two-pixel wide staff lines. The approximate equivalents to point sizes in regular text (multiplying by the factor 72/300 and then multiplying by 3):<br />
<br />
<center><br />
{| class="wikitable" cellpadding="0" cellspacing="0" border="0"<br />
|- |- {{Style|table header}}<br />
! scope="col" align="left" | MuseData music size<br />
! scope="col" align="left" | Staff height (mm)<br />
! score="col" align="left" | Approximate text font size<br />
! score="col" align="left" | Musical application<br />
|-<br />
| 6 || 2.03 mm || 4 pt || none<br />
|-<br />
| 14 || 4.74 mm || 10 pt || full scores<br />
|-<br />
| 16 || 5.42 mm || 11.5 pt || piano music, vocal scores<br />
|-<br />
| 18 || 6.10 mm || 13 pt || instrumental parts<br />
|-<br />
| 21 || 7.11 mm || 15 pt || large-size instrumental parts<br />
|}<br />
</center><br />
<br />
=== Extracting MPG intermediate data ===<br />
<br />
When a MuseData [[stage2]] file is converted into graphical music notation as PostScript output from ''muse2ps'', it will pass through two data transformation steps. The first step is a conversion from [[stage2]] data into non-page-specific [[i-files]] which is accomplished with the [[autoset]] component. Then these "non-page-specific" [[i-files]] are converted into "page-specific" [[page files|i-files]] (or Music Page (MPG) files) which describe the precise position of musical elements on each page of typeset music. This [[music page]] data can be extracted from the program surreptitiously by using the "=P" option. This will cause the [[MPG]] data to be embedded in comments within the PostScript output. Each page of MPG data will be stored in a sequence of comments starting with "<tt>%=BeginMPGData: 1</tt>", where <tt>1</tt> is the data for page one. And each page of MPG data is ended by the comment <tt>"%=EndMPGData: 1"</tt>.<br />
<br />
All MuseData/dmuse related comments in the PostScript output start with the comment marker "%=", so the MPG data can easily be separated from the PostScript content and other irrelevant comments in a manner such as this:<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =P | grep "^%=" > [[Media:Mpg-comments.txt|mpg-comments.txt]]<br />
The [[regular expression]] search string "<tt>^%=</tt>" used in the [http://en.wikipedia.org/wiki/Grep grep] command means extract lines from the input which start with the two characters "<tt>%=</tt>".<br />
<br />
A PERL utility program, called [[Media:unpackmpg.pl|unpackmpg]], for extracting the MPG data from the comments is included with the source code for ''muse2ps'':<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =Pg85jt200l3000 | [[Media:unpackmpg.pl|unpackmpg]] > [[Media:Mpg-comments.mpg|mpg-comments.mpg]]<br />
In the above command the options mean:<br />
* <tt>=P</tt>: Output [[music page]] data.<br />
* <tt>=g85</tt>: Set the distance between the staves in the grand staff to 8.5 staff lines (default is 100, or 10 staff lines).<br />
* <tt>=j</tt>: Right-justify the last system of the music.<br />
* <tt>=t200</tt>: Set the top margin to 2/3 of a inch below the base position.<br />
* <tt>=l3000</tt>: Set the vertical printable region to 10 inches.<br />
<br />
=== Inputting MPG data (adding a title) ===<br />
<br />
The extracted [[music page]] data from the previous section can be edited (such as to add a title) and then can be reprocessed by ''muse2ps'' to generate PostScript output:<br />
cat [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] | muse2ps =p | ps2pdf - > [[Media:Bach-wtc1p01-title.pdf|bach-wtc1p01-title.pdf]]<br />
<br />
In this case the file [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] is the equivalent to the MPG data generated by ''muse2ps'' in the previous section: [[Media:Mpg-comments.mpg|mpg-comments.mpg]], but with these three lines added to generate a title for the first page:<br />
<br />
<pre><br />
X 14<br />
X 46 1200C 0 Well-Tempered Clavier, Book I, Prelude 1 in C major<br />
X 37 1200C 50 BWV 846<br />
</pre><br />
<br />
The first line sets the font indexes relative to music size 14. The second line places the line at "1200C 0" which means center the line horizontally at location 1200 (4 inches from the left margin), and position the line vertically at position 0 (0 inches below the top margin).<br />
<br />
[[Music page]] data for many of the score on http://www.musedata.org are available as both [[stage2]] files and [[music page]] files. Using the [[music page]] files as input to ''muse2ps'' will generate better graphical notation results, since the automatically typeset data from the [[stage2]] files has been proofread and adjusted by a human.<br />
<br />
== Options ==<br />
<br />
Below is a list of the options which muse2ps understands. Options are given<br />
as the first (and only) argument to the program, starting with an equals sign (=), then followed by the options in any order, with no spaces between the options. For example, to set the music size to 18 and right-justify the last system on the last page, use the option string =z21j:<br />
cat file.md2 | muse2ps =z21j > file.ps<br />
When using characters which may be parsed by the command-line interpreter, you will have to enclose the option string in single quotes (you can do this all of the time if you are uncertain of the conditions in which they would be required):<br />
cat file.md2 | muse2ps '=z21js^{(..}}^T^title^' | ps2pdf - > file.pdf<br />
<br />
In option strings such as "=c<#>", replace <#> with an integer. <tt>[#]</tt> indicates an optional number.<br />
<br />
{|class="wikitable" cellpadding="0" cellspacing="0" border="0" style="width:100%"<br />
|- {{Style|table header}}<br />
! scope="col" width="100px" align="center"| muse2ps option index<br />
|-<br />
| <div style="column-count:3;-moz-column-count:3;-webkit-column-count:3"><br />
* {{nowrap|{{mopt|c}} compression}}<br />
* {{nowrap|{{mopt|C}} composer}}<br />
* {{nowrap|{{mopt|d}} diagnostics}}<br />
* {{nowrap|{{mopt|D}} dash spacing}}<br />
* {{nowrap|{{mopt|E}} eof insertion}}<br />
* {{nowrap|{{mopt|f}} fill by staff}}<br />
* {{nowrap|{{mopt|F}} fill by system}}<br />
* {{nowrap|{{mopt|g}} grand staff spacing}}<br />
* {{nowrap|{{mopt|G}} group selection}}<br />
* {{nowrap|{{mopt|h}} note space}}<br />
* {{nowrap|{{mopt|i}} indentation flag}}<br />
* {{nowrap|{{mopt|I}} indentation amount}}<br />
* {{nowrap|{{mopt|j}} justification}}<br />
* {{nowrap|{{mopt|k}} display options}}<br />
* {{nowrap|{{mopt|l}} page length}}<br />
* {{nowrap|{{mopt|m}} left margin}}<br />
* {{nowrap|{{mopt|M}} embed stage2 data}}<br />
* {{nowrap|{{mopt|n}} number of systems}}<br />
* {{nowrap|{{mopt|p}} page files input}}<br />
* {{nowrap|{{mopt|P}} embed page files}}<br />
* {{nowrap|{{mopt|Q}} min. dist. dur.}}<br />
* {{nowrap|{{mopt|s}} system spine}}<br />
* {{nowrap|{{mopt|S}} title/system space}}<br />
* {{nowrap|{{mopt|t}} top margin}}<br />
* {{nowrap|{{mopt|T}} title}}<br />
* {{nowrap|{{mopt|u}} subtitle}}<br />
* {{nowrap|{{mopt|v}} staff spacing}}<br />
* {{nowrap|{{mopt|w}} system width}}<br />
* {{nowrap|{{mopt|W}} thin barlines}}<br />
* {{nowrap|{{mopt|x}} no suggestions}}<br />
* {{nowrap|{{mopt|X}} no last barline}}<br />
* {{nowrap|{{mopt|y}} no line controls}}<br />
* {{nowrap|{{mopt|Y}} no initial time sig.}}<br />
* {{nowrap|{{mopt|z}} music size}}<br />
</div><br />
|}<br />
<br><br />
<br />
See also the Dmuse text file [[Media:muse2ps-options.dm | options.dm]], or the HTML equivalent [[Media:muse2ps-options.html| options.html]] for a brief description of each option.<br />
<br />
{| style="background-color:white" cellpadding="4"<br />
|- valign="top"<br />
| {{anchor|c_option}}<b>=c</b><#>|| Compression factor: This is measured as a percentage of the default. 100 = no compression (100%). Use smaller values to decrease the spacing between notes (allowing fewer pages in the score). Values larger than 100 will expand the distance between notes (increasing the number of pages in the score). This option is useful to force the last system of music to occur at the bottom of a page.<br />
<br />
|- valign="top"<br />
|{{anchor|C_option}}<b>=C</b>^string^ || Display the ''string'' as the composer's name at the top right side of the first page. See <b>=T</b> for the title, and <b>=u</b> for the sub-title. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|d_option}}<b>=d</b><#> || Diagnostics and Error Messages.<br />
bit 0 of #: ON = print error messages<br />
bit 1 of #: ON = print all diagnostics<br />
bit 2 of #: ON = print diagnostics from autoset<br />
bit 3 of #: ON = print diagnostics from mskpage<br />
bit 4 of #: ON = print diagnostics from pspage<br />
no number = 0x01: print error messages<br />
For example, =d31 turns on all error message toggles. This option is useful if the output PostScript data from muse2ps is empty. The messages go to standard error, while the PostScript data goes to standard output. Therefore, you can print the error messages and still save or pipe the PostScript data without the error messages mixing with the output data.<br />
<br />
|- valign="top"<br />
| {{anchor|D_option}}<b>=D</b> || spacing between dashes. Will over-ride spacing in stage2 files: 0 = use default, >0 = space between dashes (units are dash length)<br />
<br />
|- valign="top"<br />
| {{anchor|E_option}}<b>=E</b> || <tt>/END</tt> = <tt>/eof</tt>. The muse2ps program allows for multiple parts to be entered from standard input in a single stream of data. Normally the data files representing each part are separated from each other by a line containing only "<tt>/eof</tt>" (lowercase; meaning "End of File"). Separate MuseData [[stage2]] files do not typically end in "<tt>/eof</tt>", but rather, they are required to contain the line "<tt>/END</tt>" (uppercase) to indicate the end of the data. After "<tt>/END</tt>", any textual comments are allowed. With the =E option, you do not need to separate files by "<tt>/eof</tt>", and instead, the next file in the sequence will start on the line coming after "<tt>/END</tt>". Note, however, that you cannot use the =E option if there is any commentary after "<tt>/END</tt>" in a file.<br />
<br />
|- valign="top"<br />
| {{anchor|f_option}}<b>=f</b> || Fill pages to the bottom by proportionally stretching all spacings. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|F_option}}<b>=F</b> || Fill pages to the bottom by adding to the intersystem space only. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|g_option}}<b>=g</b><#>|| Grand staff intra-space measured in multiples of ledger lines times 10. The default is 100, which is 10 ledger lines. Note that this distance reference is different from the =v values which define the distance from the top of one staff to the top of the next staff. For the =g, option, the distance is from the bottom of the top staff to the top of the bottom staff.<br />
<br />
|- valign="top"<br />
| {{anchor|G_option}}<b>=G</b>^group-name^ || Group name to process. The default is "score". Available groups are found on data line 11 at the top of each MuseData [[stage2]] file (excluding any single- or multi-line comments). Other possibilities might be "part" or "data".<br />
<br />
|- valign="top"<br />
| {{anchor|h_option}}<b>=h</b><#> || Alter the minimum allowed space between notes. This is measured as a percentage of the default. 100 = no change (100%).<br />
<br />
|- valign="top"<br />
|{{anchor|i_option}}<b>=i</b><#> || Initial system indentation options flag.<br />
* 0 = use program defaults (set indentation with <tt>=I</tt> option).<br />
* 1 = no indentation of first system of music<br />
* 2 = indent first system, and after every forced system break.<br />
<br />
|- valign="top"<br />
| {{anchor|I_option}}<b>=I</b><#> || Specify the indentation amount for the first system in the music. If zero, then default indentation amount will be used. (see the <tt>=i</tt> option for turning off indentation).<br />
<br />
|- valign="top"<br />
|{{anchor|j_option}}<b>=j</b> || Right-justify the last system of the music so that it extends all of the way across the page. The default is NOT to right justify. Right-justification is a recursive process where measures from previous systems may be moved ahead in the score to cause all systems to have approximately the same note density.<br />
<br />
|- valign="top"<br />
| {{anchor|k_option}}<b>=k</b>^0x<tt>#</tt>^ || Display alternative options. Options are stored in a hexadecimal number prefixed with the string "<tt>0x</tt>" (C program-styled hex number). The default values are the 0 bit settings. The meaning of the bits in the hexadecimal number are (from least significant to most significant bit):<br />
<br />
<table cellpadding=0 cellspacing=0><br />
<tr valign=baseline><th>bit</th><td width=10></td><th>meaning</th></tr><br />
<br />
<tr valign=baseline><td>0</td><td></td><td><br />
<b>k-option activation flag</b><br />
* 1: <i>k</i> option is active, read options in more significant bits.<br />
* 0: <i>k</i> option is inactive. Used to turn off this option as a command-line over-ride.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>1</td><td></td><td><br />
<b>Sforzando/rfz flag</b><br />
* 0: display sforzando as sf (rf)<br />
* 1: display sforzando as sfz (rfz)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>2</td><td></td><td><br />
<b>Sub-edit flag</b><br />
* 0: diplay editorial markup differently from regular data (such as adding brackets around editorial elements).<br />
* 1: do not display editorial data differently from regular data.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>3</td><td></td><td><br />
<b>No-editorial flag</b><br />
* 0: display editorial markup data.<br />
* 1: do not display editorial markup data.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>4</td><td></td><td><br />
<b> Editorial markup in Roman font flag</b><br />
* 0: use cue-size music fonts for editorial marks.<br />
* 1: use Times-Roan font for editorial marks: tr, dynamics<br />
</td></tr><br />
<br />
<tr valign=baseline><td>5</td><td></td><td><br />
<b>Ligature flag</b><br />
* 0: do not use ligatures in text.<br />
* 1: use ligatures for "ffl", "ffi", "ff", "fl", and "fi".<br />
</td></tr><br />
<br />
<tr valign=baseline><td>6</td><td></td><td><br />
<b>figured harmony flag</b><br />
* 0: place figured harmony (figured bass) below the staff.<br />
* 1: place figured harmony (figured bass) above the staff.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>7</td><td></td><td><br />
<b> mheavy4 barline style flag</b><br />
* 0: mheavy4 barline represented by two heavy lines.<br />
* 1: mheavy4 barline represented by one thin, one thick, and then another thin line.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>8</td><td></td><td><br />
<b>Multi-voice augmentation dot option</b><br />
* 0: allow overstrike of dots in different voices.<br />
* 1: do now allow overstrike<br />
</td></tr><br />
<br />
<tr valign=baseline><td>9</td><td></td><td><br />
<b>New key signatures option</b><br />
* 0: don't print a new key signature if it is the same as the previous one on the staff.<br />
* 1: print a new key signature even if it repeats the previous key signature on the staff.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>10</td><td></td><td><br />
<b>Mixed rhythm chords</b><br />
* 0: Don't allow a mixture of white and black notes in chords.<br />
* 1: Allow mixture of white and black notes in chords.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>11</td><td></td><td><br />
<b>Suppress key signature flag </b><br />
* 0: display key signatures<br />
* 1: suppress printing of the key signature (such as for timpani parts).<br />
</td></tr><br />
<br />
<tr valign=baseline><td>12</td><td></td><td><br />
<b>Editorial slurs flag</b><br />
* 0: all slurs are regular.<br />
* 1: <tt>{ }</tt> amd <tt>z x</tt> slurs are editorial slurs (dashed slurs).<br />
</td></tr><br />
<br />
<tr valign=baseline><td>13</td><td></td><td><br />
<b>New clef sign flag </b><br />
* 0: Large clefs at start of system, cue-size clefs for clef changes.<br />
* 1: Always use large clefs.<br />
</td></tr><br />
<br />
</table><br />
<br />
|- valign="top"<br />
| {{anchor|l_option}}<b>=l</b><#>|| Length of a page. Distance is measured dots, at 300 dots to the inch. Default is 2740 dots. The default starting height is 120 dots. This will not be lowered, but may be raised to accommodate a longer page.<br />
<br />
|- valign="top"<br />
| {{anchor|m_option}}<b>=m</b><#> || Left margin, measured in at 300 dots/inch. The default is 200 dots<br />
<br />
|- valign="top"<br />
| {{anchor|M_option}}<b>=M</b> || include the contents of the MuseData source files in the Trailer section of the file embedded in PostScript comments (if MuseData [[stage2]] files are used as input.<br />
<br />
|- valign="top"<br />
| {{anchor|n_option}}<b>=n</b><#> || Maximum number of systems on a page. The default is no maximum.<br />
<br />
|- valign="top"<br />
| {{anchor|p_option}}<b>=p</b> || The source is a concatenated set of page specific i-files (also called .mpg files), not a set of MuseData files.<br />
<br />
|- valign="top"<br />
| {{anchor|P_option}}<b>=P</b> || include listings of the page specific i-files, which are the source of the output PostScript data. Each page is separated<br />
<br />
|- valign="top"<br />
| {{anchor|Q_option}}<b>=Q</b><#> || Duration which is assigned the minimum distance<br />
1 = whole notes<br />
... . . .<br />
8 = eighth notes<br />
16 = sixteenth notes, etc<br />
<br />
|- valign="top"<br />
| {{anchor|s_option}}<b>=s</b>^string^ || Custom left-hand spine. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=s^[(....)][(..)](.)[({..}..)]^<br />
Each dot in the system bracketing string represents one part, with the first dot in the string representing the top staff of the system. If a grand-staff is used for any part, then use the colon character (:) for that part. Staves which should be bracketed together are enclosed in square brackets: <tt>[]</tt>. Staves which should be braced together are enclosed in curly braces: <tt>{}</tt>. Staves which should be barred together (barlines connecting between staves) are enclosed in parentheses: <tt>()</tt>. The caret character (^) is used to mark the start and top of the option string. Subsequent options occur immediately after the second caret character with no intervening space.<br />
<br />
|- valign="top"<br />
| {{anchor|S_option}}<b>=S</b><#> || Add extra space between the title and the first system of music: 0 = use default, >0 = lower the first system (units are 1/300th of an inch).<br />
<br />
|- valign="top"<br />
|{{anchor|t_option}}<b>=t</b><#> || Top of page. Default is 120 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|T_option}}<b>=T</b>^string^ || Display the ''string'' as a title at the top of the (first) page. See <b>=u</b> for sub-title, and <b>=C</b> for composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|u_option}}<b>=u</b>^string^ || Display the ''string'' as a sub-title at the top of the (first) page. See <b>=T</b> for the title, and <b>=C</b> for the composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|v_option}}<b>=v</b><#,#,#...#> || Custom spacings. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=v192,192,192,208,192,208,176,176,176,200<br />
The above example setting for the =v option can be used for a system with 8 parts (such as 4 woodwinds, 2 horns, and 4 string instruments). The first seven values describe the spacing between each staff in the system, and the last value is the spacing between systems on the page. The spacing between staves and systems is constant with muse2ps. The spacing values are 1/10th of the distance between two staff lines, and the spacing value is the distance from the top of one staff to the top of the next staff (or the top of the last staff on a system to the top of the staff on the next system for the last value in the list). See the <tt>=g</tt> option for spacing the staves of a grand staff (such as for piano music). When a grand staff is part of a system with more parts, then the distance between the grand staff and the next system is the distance between the top of the bottom staff of the grand-staff pair and the top of the next staff.<br />
<br />
|- valign="top"<br />
| {{anchor|w_option}}<b>=w</b><#> || System width, measured in at 300 dots/inch. The default is 2050 dots<br />
<br />
|- valign="top"<br />
| {{anchor|W_option}}<b>=W</b>[#] || Thin barline flag. 0 = use regular barlines. 1 = use thin barlines. No number after <tt>=W</tt> means the same as <tt>=W0</tt>.<br />
<br />
|- valign="top"<br />
| {{anchor|x_option}}<b>=x</b> || Defeat all part inclusion suggestions in the data<br />
<br />
|- valign="top"<br />
| {{anchor|X_option}}<b>=X</b>[#] || Leave off the last barline (for short examples). 0 = print last bar, 1 = don't print last bar, <tt>=X</tt> without a number is equivalent to <tt>=X1</tt>. Note: you can add extra staff line space in the last bar by putting in <tt>irest</tt>s, but you must put <tt>irest</tt>s in all parts ,and they must all represent the same note type (duration). Note also: If the last bar line is anything but a regular measure line, it will continue to print.<br />
<br />
|- valign="top"<br />
|{{anchor|y_option}}<b>=y</b> || Defeat all line control suggestions in the data<br />
<br />
|- valign="top"<br />
|{{anchor|Y_option}}<b>=Y</b><#> || Suppress printing first time signature in score. Used for printing small examples which have a time signature in the data, but none desired in graphical notation. You can also use a time signature in the data of "<tt>T:9/0</tt>" to generate a <i>hidden</i> time signature, and not giving a time signature at the start of a file will result in not time signature being printed. 0 = print initial time signatures (used to override options embedded in data). 1 = suppress first time signature (<tt>=Y</tt> is equivalent to <tt>=Y1</tt>).<br />
<br />
|- valign="top"<br />
| {{anchor|z_option}}<b>=z</b><#> || Music size: choices are 6,14,16,18,21. 14 is the default. This value describes the distance between staff lines in units of 300 dots per inch.<br />
<br />
|}<br />
<br />
== Multi-file input specification ==<br />
<br />
Normally individual MuseData [[stage2]] files contain a single part. These part files are concatenated together and sent via standard input into the muse2ps program. In order for the muse2ps program to be able to segment the separate part files from the original stream the marked "<tt>/eof</tt>" is added after the last line in each file, and the marker "<tt>//</tt>" is ''required'' after the end of all datafile input into muse2ps. <br />
<br />
Typically the last line of a [[stage2]] MuseData file consists of the string "<tt>/END</tt>" (in uppercase), so add the line "<tt>/eof</tt>" (in lowercase) after it: <br />
/END<br />
/eof<br />
<br />
The very last three lines of input to muse2ps should should look like this:<br />
<br />
/END<br />
/eof<br />
//<br />
<br />
If you specify the =E option when running muse2ps, the "<tt>/END</tt>" markers will be used to segment the separate part files internally.<br />
<br />
The PERL script [[Media:collatemd2.pl|collatemd2]] (included with the source code to muse2ps) can be used to concatenate multiple [[stage2]] part files into a single input stream for muse2ps. The output of the PERL script can be saved to a file for later processing with muse2ps. In this case the recommended file extension for the multi-file MuseData content is <b>.md2</b> . Here are example uses of [[Media:collatemd2.pl|collatemd2]]:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
You many have to type "<tt>./collatemd2</tt>" instead of "<tt>collatemd2</tt>" if the perl program is in the current directory and the current directory is not in the command search path. If you download the program from this page, remove the .pl extension when saving (and use a lower-case first letter for the filename). You may have to set the permissions to allow it to be run as a program with the unix command: <tt>chmod 0755 collatemd2</tt>.<br />
<br />
Alternatively, you can save the output from [[Media:collatemd2.pl|collatemd2]] into a file for later use with muse2ps:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] > [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]]<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
When downloading MuseData [[stage2]] files from http://www.musedata.org , the parts are all combined into a single multi-file MuseData file which is the equivalent to the output from [[Media:collatemd2.pl|collatemd2]].<br />
<br />
=== Multiple Music Page files ===<br />
<br />
When concatenating multiple Music Page (MPG) files, separate each file's content with a line with the single capital letter "P" on it. Example of how to do this on the command line, creating a PDF file:<br />
<br />
<source lang="bash"><br />
for i in ??<br />
do<br />
cat $i<br />
echo P<br />
done | muse2ps =p | ps2pdf - - > output.pdf<br />
</source><br />
<br />
N.B.: Probably two slashes also need to be added at the end of the last page; otherwise, it will not print:<br />
<br />
//<br />
<br />
== Color highlighting ==<br />
<br />
A soon-to-be released update of muse2ps will allow for coloring of notes in the score. This colorization can be used in conjunction with displaying search results, or highlighting notes in an example. <br />
<br />
If you place an "R" character in column 14 for note (or rest) records, That note will be highlighted red. A capital "R" will also highlight the stem of the note, while a lower case "r" will color only the notehead. If multiple colored notes all share a common beam, then that beam is also highlighted.<br />
<br />
The letter "B" can be used in column 14 to color notes blue, and the letter "G" can be used to color notes green. The lowercase versions "r" and "g" can be used to color only the noteheads and not the stems.<br />
<br />
== Embedded options ==<br />
<br />
The <i>muse2ps</i> program can read options sent in the input data stream. Options can be embedded in the input data as single-line comments. In [[stage2]] files, single-line comments start with an at-sign (<tt>@</tt>) in the first column of the line. Following the comment marker comes an option identification string "<tt>muse2psv1</tt>", with "<tt>v1</tt>" being the option version level (currently level 1, and can be used in the future to keep options backwards and forwards compatible. Default options, listed in the previous section describing the options, can be overridden by using the default option setting method which adds two equal signs in a row, followed by any options. Multiple default option <br />
comments may occur to prevent the length of the line from getting too long (it is a good idea to limit the length of the line for full backwards compatibility with dmuse and [[stage2]] files, although the current line limit in dmuse/muse2ps is 900 characters).<br />
<br />
Option for specific music sizes can be set by placing the size option between the two equals signs in the option comment. Here is an example option comment header:<br />
<br />
@muse2psv1==z18<br />
@muse2psv1==T^Bach Chorale^u^bwv-277^C^J.S. Bach (1685-1750)^<br />
@muse2psv1=z14=v200,155,155,155j<br />
@muse2psv1=z18=v240,195,195,195j<br />
@muse2psv1=z21=v300,230,230,230j<br />
<br />
The first two lines are default option settings for all music sizes. The first line sets the default music size to 18 if no size is given on the command line to muse2ps. The second line sets the title, subtitle, and composer fields on the title page. The last three lines set the vertical spacing between staves at various music sizes; the first for size 14, then size 18, and the last line for size 21.<br />
<br />
== ps2pdf options ==<br />
<br />
The default behavior of the ps2pdf program is to assume that the input data is formatted for A4 paper. The default output size for muse2ps is US letter. In order for ps2pdf to generate output pages with the correct dimensions, add the option <tt>-sPAPERSIZE=letter</tt> as an argument to the program:<br />
ps2pdf -sPAPERSIZE=letter<br />
<br />
Another pair of useful options (not needed for output from muse2ps, but useful when adding footers at later states in data program) embed the fonts used in the file:<br />
ps2pdf -sPAPERSIZE=letter -dCompatibilityLevel=1.4 -dPDFSETTINGS=/prepress<br />
<br />
For example the Symbol font is not present on the Apple iPad PDF viewer. When using the options in this example, the Symbol font (or the portion used) would be embedded in the file and therefore viewable on an iPad.<br />
<br />
== Creating images ==<br />
<br />
Graphical images can be created in various ways. A good method is to convert PostScript output from muse2ps to a bitmap image with the unix command-line program pstopnm. For smaller examples and converting to other images formtas, Imagemagick's convert is another command-line which is useful. Both pstopnm and convert are often pre-installed on linux computers, and both are available for free on the internet. They should also work with OS X, and can be used in MS Windows using [http://www.cygwin.com cygwin].<br />
<br />
To create an image pipe the output from muse2ps into pstopnm, and convert to a bitmapped image at 300 dots per inch. Next pipe the resulting image to convert for further processing. In the following example, the image is first trimmed from a full page to just the area which contains the printed music, then the image is resized to 33% of the original size for use on the web, and saved into a PNG file.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -resize '33%' [[Media:scale.png|scale.png]]<br />
<br />
=== Transparent background ===<br />
<br />
Use the options <tt>-negate -alpha copy -negate</tt> to make the background of the image transparent so that it can be displayed on any background color. Here is the example image which was just created with the above command:<br />
<br />
[[Image:scale.png]]<br />
<br />
Notice that the background color of the image is white, which becomes noticeable when placing the image on a non-white background color. Now create an image with a transparent background:<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -negate -alpha copy -negate \<br />
-resize '33%' [[Media:scale-transparent.png|scale.png]]<br />
<center><br />
<table cellspacing=0 cellpadding=3><tr bgcolor=#ffffff><td bgcolor=#4499aa><br />
[[Image:scale-transparent.png]]<br />
</td><td width=10><br />
<td bgcolor=#ffaa44>[[Image:scale-transparent.png]]<br />
</td></tr></table></center><br />
<br />
<br />
=== Images for printed publications ===<br />
<br />
To insert musical examples in a Microsoft or similar word processing program, do not resize the image, but leave it at the 300 dots per inch size of the original. Then you can rescale the image in the word processor as necessary. This will optimize the quality of the image in the final printout from the word processor.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim [[Media:scale-large.png|scale.png]]<br />
<br />
== Humdrum interface ==<br />
<br />
The muse2ps program can be used in conjunction with the [http://extra.humdrum.org/man/hum2muse hum2muse] program. Here is an example of how to create graphical music notation using the following Humdrum data as an example:<br />
<br />
<table cellspacing=0><tr bgcolor=white valign=top><td><htmlet>beethoven-kern</htmlet></td><br />
<td width=10></td><br />
<td> <br />
<pre><br />
hum2muse file.krn | muse2ps \<br />
| ps2pdf - - > file.png<br />
</pre><br />
[[Image:beethoven-kern.png]] <br />
<br><br />
<br><br />
<br><br />
</td><br />
</tr><br />
</table><br />
<br />
Images can be generated from Humdrum data online by pasting/typing data into the [http://kern.humdrum.org/cgi-bin/kern/kseditor Humdrum online editor]. For example, copy and paste the above Humdrum data into the left black box on the Humdrum online editor page, and the click on the red "Generate" button to produce an image of the graphical music using the default settings.<br />
<br />
Here is the intermediate MuseData which is passed between [http://extra.humdrum.org/man/hum2muse hum2muse] and muse2ps: [[Media:beethoven-kern.md2 | beethoven.md2]]. Try copying / pasting<br />
this data into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in the same music notation as seen above.<br />
<br />
== Zbex programs ==<br />
<br />
In the muse2ps source code directory, the sub-directory <tt>zprogs</tt> contains the [[zbex]] programs used to generate the file zfun32.c. Most necessary files needed to create [http://www.ccarh.org/software/muse2ps/muse2ps/zfun32.c zfun32.c] are in that directory, but perhaps not all of them. These programs are not used directly by muse2ps, but are compiled into zbex executable code within zfun32.c. The muse2ps is essentially a non-interactive version of [[dmuse]] (see http://dmuse.ccarh.org). The [[dmuse]] program is a text editor which also has a built-in [[zbex]] language interpreter and graphical music display capabilities. The interpreter portion of [[dmuse]] has been extracted for non-interactive use in muse2ps.<br />
<br />
== Examples == <br />
<br />
Further examples of MuseData [[stage2]] files converted into graphical music notation with muse2ps can be found on the [[MuseData examples]] page.<br />
<br />
== Feature requests and bug reports ==<br />
<br />
See the page: [[Muse2ps feature requests and bug reports]].</div>Edchttps://wiki.ccarh.org/index.php?title=Muse2ps&diff=10500Muse2ps2021-03-30T14:35:08Z<p>Edc: /* Inputting MPG data (adding a title) */</p>
<hr />
<div>__TOC__<br />
<br />
== Overview == <br />
<br />
The <b>muse2ps</b> program is a command-line version of the [[autoset]], [[mskpage]] and [[pspage]] programs which are usually run within the [[dmuse]] editor using the built-in [[zbex language]] interpreter. The ''muse2ps'' program reads MuseData [[stage2]] data or [[page file]] data from standard input and converts them into PostScript data representing graphical musical notation which is sent to standard output. The following diagram illustrates the flow of data through ''muse2ps'':<br />
<br />
<br />
<center><br />
[[File:muse2ps-dataflow.svg]]<br />
</center><br />
<br />
The ''muse2ps'' program can accept two forms of input. By default, the ''muse2ps'' program will read multi-file [[stage2]] data from standard input. MuseData [[stage2]] files contain primarily symbolic musical data with possibly a little bit of formatting information (such as system and page breaks). The ''muse2ps'' program will format this symbolic music internally into [[page files]] which give explicit information about the placement of notes, slurs, beams, dynamics, lyrics, ''etc.'' on each page of music.<br />
<br />
Alternatively, if the <tt>=p</tt> option is given as an [[argument]] to ''muse2ps'', the program can read multi-file [[page files]] directly from standard input. Typically, [[stage2]] files are converted automatically into [[pages files]] and then further processing is done on these [[page files]] in order to produce a final typeset score of the graphical music notation. For example, the [[vskpage]] is used to refine the vertical spacing of staves and systems on a page of music within [[page files]], and [[eskpage]] is used to interactively edit the position of graphical elements within [[page files]].<br />
<br />
The only output from ''muse2ps'' (besides error messages) is PostScript data which describes the graphical music notation in a printable score of the music. This data can be further processed, such as sending directly to a PostScript printer, or converting into PDF files for web distrubution of the notated music. The representation of music notation within the PostScript file is in the form of bit-mapped musical fonts. The musical fonts are designed for use with 300 DPI resolution printers when printed at the native resolution (originally these fonts were designed for [http://en.wikipedia.org/wiki/Printer_Command_Language PCL-based printers]). These fonts have the unique feature of [http://en.wikipedia.org/wiki/Dither dithered] edges on sloped beams to minimize the visual effect of pixel stepping at 300 DPI resolution. Minor notation editing can be done on the PostScript/PDF files in programs such as Adobe Illustrator. If you print via PDF files, you may want to uncheck the page-scaling option in the printing program in order to avoid aliasing artifacts in the hard copy due to changing the intended size of the music on the page. <br />
<br />
Two other forms of data can be embedded within the PostScript output. If the <tt>=M</tt> option is given as an [[argument]] to the ''muse2ps'' program, then the original [[stage2]] data will be stored within comments in the PostScript data. Likewise, if the <tt>=P</tt> option is given, the [[page file]] data will be included in the PostScript output as comments. The [[page file]] data will either come from automatic generation using [[autoset]]/[[mskpage]], or from standard input if you use the <tt>=p</tt> option.<br />
<br />
There are also numerous options which primarily deal with the formatting of [[stage2]] files with the [[autoset]] and [[mskpage]] program components. See the [[#Options| options]] section below for a complete list of the options.<br />
<br />
== Download ==<br />
<br />
The ''muse2ps'' program executables for various operating systems or the source code can be downloaded from the following table. <b>Instructions for setting up the program for use can be found ''[[Muse2ps_installation_instructions| here]]''.</b><br />
<br />
<br />
<center><br />
{{muse2psdownloadtable}}<br />
</center><br />
<br />
== Online ==<br />
<br />
The ''muse2ps'' program can be run online at http://www.musedata.org/mdconverter . If you click on [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icons next to data found on the http://www.musedata.org website, the musical data will be loaded into this online converter from which PostScript, PDF, or PNG images of the music can be generated. <br />
<br />
For example, click on the [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icon on the information page for this [http://www.musedata.org/encodings/bach/bg/chorals/0428/ Bach chorale], then click on the {{keypress|Submit}} button on the converter page to generate a PDF file of the chorale with the default settings. Then try setting some options, such as using "<tt>[(.)(.)(.)(.)]</tt>" for the <b>System spine</b> option to prevent barlines from being drawn between staves in the score.<br />
<br />
You can create your own MuseData content and print with the online converter as well. Copy and paste the following MuseData content: [[Media:beethoven-kern.md2 | beethoven.md2]] into into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in this graphical music notation:<br />
<center><br />
[[Image:beethoven-kern.png]]<br />
</center><br />
<br />
== Command-line examples ==<br />
<br />
The simplest use of ''muse2ps'' is to send it MuseData [[stage2]] files as standard input, and save standard output from the program into a PostScript file:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps > [[Media:bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
<br />
You may need to use "<tt>./muse2ps</tt>" instead of "<tt>muse2ps</tt>" in the above command if the ''muse2ps'' program file is in the current directory, but the current directory is not in your [http://en.wikipedia.org/wiki/PATH_%28variable%29 command search path]. The PostScript output can then be further processed in an external program. Usually it is more convenient to work with the data as a PDF file. The process of converting PostScript to PDF can be done by many methods. For example, Acrobat Distiller or Acrobat Professional will convert PostScript files into PDF files. There are online converters, such as this one: http://www.ps2pdf.com/convert.htm . And on most linux computers you can convert PostScript into PDF files using the [http://pages.cs.wisc.edu/~ghost/doc/gnu/5.50/Ps2pdf.htm ps2pdf] command:<br />
ps2pdf [[Media:Bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
This will create the file [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]] (replacing the .ps extension with a .pdf extention automatically when saving the PDF file). If you click on the PDF file link in the previous sentence, you should see the musical notation for J.S. Bach's Well-Tempered Clavier, Book I, Prelude 1 in C major.<br />
<br />
An alternate method of using ps2pdf to generate a PDF file in a single step in conjunction with ''muse2ps'' would be with this command-line construction:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps | ps2pdf - > [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]]<br />
<br />
=== Last system justification ===<br />
<br />
By default ''muse2ps'' does not right-justify the last system of the music on the last page of the output (as can be seen in [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]]). If you<br />
want to justify the last system, use the <tt>=j</tt> option as an argument to ''muse2ps'':<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =j | ps2pdf - > [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]<br />
The ''muse2ps'' (or more precisely, the internal [[mskpage]] component) will possibly adjust line breaks on one or more of the previous systems in the score in order to fill enough music onto the last system, and then stretch or contract the music on the last system to fit the width between margins exactly. The <tt>=j</tt> option can potentially take significantly more time to process the input data than when it is omitted. The reason for the increased processing time can be seen by comparing [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]] and [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]. In order to right-justify the last system of the music, all systems in the music were recursively re-typeset so that the first system in the music contains only three measures instead of four.<br />
<br />
=== Grand-Staff vertical spacing ===<br />
<br />
The distance between staves in the grand staff (which is used for instruments such as the piano) can be controlled by the =g option. An integer number follows after the letter "g" in the option which specifies the distance between the two staves in terms of 1/10ths of the distance between staff lines. The default value for this option is =g100 which means that the distance between the top line of each staff is 10 staff lines.<br />
<br />
Here is an example of reducing the spacing between the staves to nothing. The =g50 option in this case means that the distance between the top of each staff is 5 staff lines. And since this is the height of a single staff, there will be no space between the two staves:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =g50 | ps2pdf - > [[Media:bach-wtc1p01-g50.pdf|bach-wtc1p01-g50.pdf]]<br />
<br />
<br />
=== Single-staff spacing in a system ===<br />
<br />
A ''system'' is a collection of staves which represent different instruments playing at the same time. The distance between these staves can be controlled with the =v option. Following =v is a list of comma-separated integers (with no intervening spaces). The unit for these numbers is the same as in the =g option: 1/10th of the distance between successive staff lines.<br />
<br />
The default spacing between staves will depend on whether they are supposed to be barred together or not. Here is the default spacing for four staves of a string quartet:<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
=== Using multiple options ===<br />
<br />
In the previous examples, the prelude is printed on two pages, with a single orphan system occurring on the second page. One way to force the music to fit onto a single page is to set the top margin from 120 pixels to 0 pixels with the option <tt>=t0</tt> and the printable length on the page to 3000 pixels (10 inches) with the option <tt>=l3000</tt>. When supplying multiple optional settings to muse2ps, there is only one option string which starts with the equals character (<tt>=</tt>) and is followed by all options with no spaces. Here is an example of using the <tt>=t0</tt>, <tt>=l3000</tt> and <tt>=j</tt> options at the same time, resulting in a single page of music:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =jt0l3000 | ps2pdf - > [[Media:bach-wtc1p01-jt0l3000.pdf|bach-wtc1p01-jt0l3000.pdf]]<br />
The order of the options in the option string is not important, so for example, "<tt>=l3000t0j</tt>" would yield the same results as "<tt>=jt0l3000</tt>".<br />
<br />
Instead of adjusting the vertical margins with the <tt>=t</tt> and <tt>=l</tt> options, you can also decrease the spacing between staves globally on the system. To do this, use the =v option followed by a list of distances between each staff on the system. In this example there are two staves in each system, so one value is expected after "=v". If there were three or more staves, then the vertical spacing values are separated by commas (and no spaces).<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =v160jt300 | ps2pdf - > [[Media:bach-wtc1p01-v160jt300.pdf|bach-wtc1p01-v160jt300.pdf]]<br />
<br />
In the above example, "<tt>=v160</tt>" means make the spacing between staves on the system slightly more than 1/2 an inch; "<tt>=j</tt>" means to right-justify the last system of music; and "<tt>t300</tt>" means add an extra inch to the top margin (the default setting is "<tt>=t120</tt>".<br />
<br />
=== Music size ===<br />
<br />
The ''muse2ps'' program can typeset music in several sizes: 6, 14, 16, 18 and 21. These numbers refer to the pixel count (at 300 DPI) between successive staff lines. For example, here is a zoom-in of music typeset using the size 6 font, where each staff line is one pixel wide, and there are 5 pixels in the gap between lines, making each staff line spaced every 6 pixels and hence the name "size 6":<br />
<br />
<center><br />
[[File:Dmuse-size6.png|411px]]<br />
</center><br />
<br />
<br />
The default size that ''muse2ps'' will typeset music in is size 14. To display the music at other sizes, use the <tt>=z</tt> option followed by the size. Here is the example prelude printed in all sizes (with right-justification of the last system using <tt>=j</tt> also added to the option string):<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z6j&nbsp;&nbsp;| ps2pdf - > [[Media:bach-wtc1p01-z6j.pdf|bach-wtc1p01-z6j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z14j | ps2pdf - > [[Media:bach-wtc1p01-z14j.pdf|bach-wtc1p01-z14j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z16j | ps2pdf - > [[Media:bach-wtc1p01-z16j.pdf|bach-wtc1p01-z16j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z18j | ps2pdf - > [[Media:bach-wtc1p01-z18j.pdf|bach-wtc1p01-z18j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z21j | ps2pdf - > [[Media:bach-wtc1p01-z21j.pdf|bach-wtc1p01-z21j.pdf]]<br />
<br />
Full-scores are typically printed at size 14 (particularly scores with many parts). Parts for performers are typically printed at sizes 18 or 21. Piano music is typically printed at size 16, and Size 18 has dither on two-pixel wide staff lines. The approximate equivalents to point sizes in regular text (multiplying by the factor 72/300 and then multiplying by 3):<br />
<br />
<center><br />
{| class="wikitable" cellpadding="0" cellspacing="0" border="0"<br />
|- |- {{Style|table header}}<br />
! scope="col" align="left" | MuseData music size<br />
! scope="col" align="left" | Staff height (mm)<br />
! score="col" align="left" | Approximate text font size<br />
! score="col" align="left" | Musical application<br />
|-<br />
| 6 || 2.03 mm || 4 pt || none<br />
|-<br />
| 14 || 4.74 mm || 10 pt || full scores<br />
|-<br />
| 16 || 5.42 mm || 11.5 pt || piano music, vocal scores<br />
|-<br />
| 18 || 6.10 mm || 13 pt || instrumental parts<br />
|-<br />
| 21 || 7.11 mm || 15 pt || large-size instrumental parts<br />
|}<br />
</center><br />
<br />
=== Extracting MPG intermediate data ===<br />
<br />
When a MuseData [[stage2]] file is converted into graphical music notation as PostScript output from ''muse2ps'', it will pass through two data transformation steps. The first step is a conversion from [[stage2]] data into non-page-specific [[i-files]] which is accomplished with the [[autoset]] component. Then these "non-page-specific" [[i-files]] are converted into "page-specific" [[page files|i-files]] (or Music Page (MPG) files) which describe the precise position of musical elements on each page of typeset music. This [[music page]] data can be extracted from the program surreptitiously by using the "=P" option. This will cause the [[MPG]] data to be embedded in comments within the PostScript output. Each page of MPG data will be stored in a sequence of comments starting with "<tt>%=BeginMPGData: 1</tt>", where <tt>1</tt> is the data for page one. And each page of MPG data is ended by the comment <tt>"%=EndMPGData: 1"</tt>.<br />
<br />
All MuseData/dmuse related comments in the PostScript output start with the comment marker "%=", so the MPG data can easily be separated from the PostScript content and other irrelevant comments in a manner such as this:<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =P | grep "^%=" > [[Media:Mpg-comments.txt|mpg-comments.txt]]<br />
The [[regular expression]] search string "<tt>^%=</tt>" used in the [http://en.wikipedia.org/wiki/Grep grep] command means extract lines from the input which start with the two characters "<tt>%=</tt>".<br />
<br />
A PERL utility program, called [[Media:unpackmpg.pl|unpackmpg]], for extracting the MPG data from the comments is included with the source code for ''muse2ps'':<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =Pg85jt200l3000 | [[Media:unpackmpg.pl|unpackmpg]] > [[Media:Mpg-comments.mpg|mpg-comments.mpg]]<br />
In the above command the options mean:<br />
* <tt>=P</tt>: Output [[music page]] data.<br />
* <tt>=g85</tt>: Set the distance between the staves in the grand staff to 8.5 staff lines (default is 100, or 10 staff lines).<br />
* <tt>=j</tt>: Right-justify the last system of the music.<br />
* <tt>=t200</tt>: Set the top margin to 2/3 of a inch below the base position.<br />
* <tt>=l3000</tt>: Set the vertical printable region to 10 inches.<br />
<br />
=== Inputting MPG data (adding a title) ===<br />
<br />
The extracted [[music page]] data from the previous section can be edited (such as to add a title) and then can be reprocessed by ''muse2ps'' to generate PostScript output:<br />
cat [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] | muse2ps =p | ps2pdf - > [[Media:Bach-wtc1p01-title.pdf|bach-wtc1p01-title.pdf]]<br />
<br />
In this case the file [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] is the equivalent to the MPG data generated by ''muse2ps'' in the previous section: [[Media:Mpg-comments.mpg|mpg-comments.mpg]], but with these three lines added to generate a title for the first page:<br />
<br />
<pre><br />
X 14<br />
X 46 1200C 0 Well-Tempered Clavier, Book I, Prelude 1 in C major<br />
X 37 1200C 50 BWV 846<br />
</pre><br />
<br />
The first line sets the font indexes relative to music size 14. The second line places the line at "1200C 0" which means center the line horizontally at location 1200 (4 inches from the left margin), and position the line vertically at position 0 (0 inches below the top margin).<br />
<br />
[[Music page]] data for many of the score on http://www.musedata.org are available as both [[stage2]] files and [[music page]] files. Using the [[music page]] files as input to ''muse2ps'' will generate better graphical notation results, since the automatically typeset data from the [[stage2]] files has been proofread and adjusted by a human.<br />
<br />
== Options ==<br />
<br />
Below is a list of the options which muse2ps understands. Options are given<br />
as the first (and only) argument to the program, staring with an equals sign (=), then followed by the options in any order, with no spaces between the options. For example, to set the music size to 18 and right-justify the last system on the last page, use the option string =z21j:<br />
cat file.md2 | muse2ps =z21j > file.ps<br />
When using characters which my be parsed by the command-line interpreter, you will have to enclose the option string in single quotes (you can do this all of the time if you are uncertain of the conditions in which they would be required):<br />
cat file.md2 | muse2ps '=z21js^{(..}}^T^title^' | ps2pdf - > file.pdf<br />
<br />
In option strings such as "=c<#>", replace <#> with an integer. <tt>[#]</tt> indicates an optional number.<br />
<br />
{|class="wikitable" cellpadding="0" cellspacing="0" border="0" style="width:100%"<br />
|- {{Style|table header}}<br />
! scope="col" width="100px" align="center"| muse2ps option index<br />
|-<br />
| <div style="column-count:3;-moz-column-count:3;-webkit-column-count:3"><br />
* {{nowrap|{{mopt|c}} compression}}<br />
* {{nowrap|{{mopt|C}} composer}}<br />
* {{nowrap|{{mopt|d}} diagnostics}}<br />
* {{nowrap|{{mopt|D}} dash spacing}}<br />
* {{nowrap|{{mopt|E}} eof insertion}}<br />
* {{nowrap|{{mopt|f}} fill by staff}}<br />
* {{nowrap|{{mopt|F}} fill by system}}<br />
* {{nowrap|{{mopt|g}} grand staff spacing}}<br />
* {{nowrap|{{mopt|G}} group selection}}<br />
* {{nowrap|{{mopt|h}} note space}}<br />
* {{nowrap|{{mopt|i}} indentation flag}}<br />
* {{nowrap|{{mopt|I}} indentation amount}}<br />
* {{nowrap|{{mopt|j}} justification}}<br />
* {{nowrap|{{mopt|k}} display options}}<br />
* {{nowrap|{{mopt|l}} page length}}<br />
* {{nowrap|{{mopt|m}} left margin}}<br />
* {{nowrap|{{mopt|M}} embed stage2 data}}<br />
* {{nowrap|{{mopt|n}} number of systems}}<br />
* {{nowrap|{{mopt|p}} page files input}}<br />
* {{nowrap|{{mopt|P}} embed page files}}<br />
* {{nowrap|{{mopt|Q}} min. dist. dur.}}<br />
* {{nowrap|{{mopt|s}} system spine}}<br />
* {{nowrap|{{mopt|S}} title/system space}}<br />
* {{nowrap|{{mopt|t}} top margin}}<br />
* {{nowrap|{{mopt|T}} title}}<br />
* {{nowrap|{{mopt|u}} subtitle}}<br />
* {{nowrap|{{mopt|v}} staff spacing}}<br />
* {{nowrap|{{mopt|w}} system width}}<br />
* {{nowrap|{{mopt|W}} thin barlines}}<br />
* {{nowrap|{{mopt|x}} no suggestions}}<br />
* {{nowrap|{{mopt|X}} no last barline}}<br />
* {{nowrap|{{mopt|y}} no line controls}}<br />
* {{nowrap|{{mopt|Y}} no initial time sig.}}<br />
* {{nowrap|{{mopt|z}} music size}}<br />
</div><br />
|}<br />
<br><br />
<br />
See also the Dmuse text file [[Media:muse2ps-options.dm | options.dm]], or the HTML equivalent [[Media:muse2ps-options.html| options.html]] for a brief description of each option.<br />
<br />
{| style="background-color:white" cellpadding="4"<br />
|- valign="top"<br />
| {{anchor|c_option}}<b>=c</b><#>|| Compression factor: This is measured as a percentage of the default. 100 = no compression (100%). Use smaller values to decrease the spacing between notes (allowing fewer pages in the score). Values larger than 100 will expand the distance between notes (increasing the number of pages in the score). This option is useful to force the last system of music to occur at the bottom of a page.<br />
<br />
|- valign="top"<br />
|{{anchor|C_option}}<b>=C</b>^string^ || Display the ''string'' as the composer's name at the top right side of the first page. See <b>=T</b> for the title, and <b>=u</b> for the sub-title. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|d_option}}<b>=d</b><#> || Diagnostics and Error Messages.<br />
bit 0 of #: ON = print error messages<br />
bit 1 of #: ON = print all diagnostics<br />
bit 2 of #: ON = print diagnostics from autoset<br />
bit 3 of #: ON = print diagnostics from mskpage<br />
bit 4 of #: ON = print diagnostics from pspage<br />
no number = 0x01: print error messages<br />
For example, =d31 turns on all error message toggles. This option is useful if the output PostScript data from muse2ps is empty. The messages go to standard error, while the PostScript data goes to standard output. Therefore, you can print the error messages and still save or pipe the PostScript data without the error messages mixing with the output data.<br />
<br />
|- valign="top"<br />
| {{anchor|D_option}}<b>=D</b> || spacing between dashes. Will over-ride spacing in stage2 files: 0 = use default, >0 = space between dashes (units are dash length)<br />
<br />
|- valign="top"<br />
| {{anchor|E_option}}<b>=E</b> || <tt>/END</tt> = <tt>/eof</tt>. The muse2ps program allows for multiple parts to be entered from standard input in a single stream of data. Normally the data files representing each part are separated from each other by a line containing only "<tt>/eof</tt>" (lowercase; meaning "End of File"). Separate MuseData [[stage2]] files do not typically end in "<tt>/eof</tt>", but rather, they are required to contain the line "<tt>/END</tt>" (uppercase) to indicate the end of the data. After "<tt>/END</tt>", any textual comments are allowed. With the =E option, you do not need to separate files by "<tt>/eof</tt>", and instead, the next file in the sequence will start on the line coming after "<tt>/END</tt>". Note, however, that you cannot use the =E option if there is any commentary after "<tt>/END</tt>" in a file.<br />
<br />
|- valign="top"<br />
| {{anchor|f_option}}<b>=f</b> || Fill pages to the bottom by proportionally stretching all spacings. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|F_option}}<b>=F</b> || Fill pages to the bottom by adding to the intersystem space only. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|g_option}}<b>=g</b><#>|| Grand staff intra-space measured in multiples of ledger lines times 10. The default is 100, which is 10 ledger lines. Note that this distance reference is different from the =v values which define the distance from the top of one staff to the top of the next staff. For the =g, option, the distance is from the bottom of the top staff to the top of the bottom staff.<br />
<br />
|- valign="top"<br />
| {{anchor|G_option}}<b>=G</b>^group-name^ || Group name to process. The default is "score". Available groups are found on data line 11 at the top of each MuseData [[stage2]] file (excluding any single- or multi-line comments). Other possibilities might be "part" or "data".<br />
<br />
|- valign="top"<br />
| {{anchor|h_option}}<b>=h</b><#> || Alter the minimum allowed space between notes. This is measured as a percentage of the default. 100 = no change (100%).<br />
<br />
|- valign="top"<br />
|{{anchor|i_option}}<b>=i</b><#> || Initial system indentation options flag.<br />
* 0 = use program defaults (set indentation with <tt>=I</tt> option).<br />
* 1 = no indentation of first system of music<br />
* 2 = indent first system, and after every forced system break.<br />
<br />
|- valign="top"<br />
| {{anchor|I_option}}<b>=I</b><#> || Specify the indentation amount for the first system in the music. If zero, then default indentation amount will be used. (see the <tt>=i</tt> option for turning off indentation).<br />
<br />
|- valign="top"<br />
|{{anchor|j_option}}<b>=j</b> || Right-justify the last system of the music so that it extends all of the way across the page. The default is NOT to right justify. Right-justification is a recursive process where measures from previous systems may be moved ahead in the score to cause all systems to have approximately the same note density.<br />
<br />
|- valign="top"<br />
| {{anchor|k_option}}<b>=k</b>^0x<tt>#</tt>^ || Display alternative options. Options are stored in a hexadecimal number prefixed with the string "<tt>0x</tt>" (C program-styled hex number). The default values are the 0 bit settings. The meaning of the bits in the hexadecimal number are (from least significant to most significant bit):<br />
<br />
<table cellpadding=0 cellspacing=0><br />
<tr valign=baseline><th>bit</th><td width=10></td><th>meaning</th></tr><br />
<br />
<tr valign=baseline><td>0</td><td></td><td><br />
<b>k-option activation flag</b><br />
* 1: <i>k</i> option is active, read options in more significant bits.<br />
* 0: <i>k</i> option is inactive. Used to turn off this option as a command-line over-ride.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>1</td><td></td><td><br />
<b>Sforzando/rfz flag</b><br />
* 0: display sforzando as sf (rf)<br />
* 1: display sforzando as sfz (rfz)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>2</td><td></td><td><br />
<b>Sub-edit flag</b><br />
* 0: diplay editorial markup differently from regular data (such as adding brackets around editorial elements).<br />
* 1: do not display editorial data differently from regular data.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>3</td><td></td><td><br />
<b>No-editorial flag</b><br />
* 0: display editorial markup data.<br />
* 1: do not display editorial markup data.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>4</td><td></td><td><br />
<b> Editorial markup in Roman font flag</b><br />
* 0: use cue-size music fonts for editorial marks.<br />
* 1: use Times-Roan font for editorial marks: tr, dynamics<br />
</td></tr><br />
<br />
<tr valign=baseline><td>5</td><td></td><td><br />
<b>Ligature flag</b><br />
* 0: do not use ligatures in text.<br />
* 1: use ligatures for "ffl", "ffi", "ff", "fl", and "fi".<br />
</td></tr><br />
<br />
<tr valign=baseline><td>6</td><td></td><td><br />
<b>figured harmony flag</b><br />
* 0: place figured harmony (figured bass) below the staff.<br />
* 1: place figured harmony (figured bass) above the staff.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>7</td><td></td><td><br />
<b> mheavy4 barline style flag</b><br />
* 0: mheavy4 barline represented by two heavy lines.<br />
* 1: mheavy4 barline represented by one thin, one thick, and then another thin line.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>8</td><td></td><td><br />
<b>Multi-voice augmentation dot option</b><br />
* 0: allow overstrike of dots in different voices.<br />
* 1: do now allow overstrike<br />
</td></tr><br />
<br />
<tr valign=baseline><td>9</td><td></td><td><br />
<b>New key signatures option</b><br />
* 0: don't print a new key signature if it is the same as the previous one on the staff.<br />
* 1: print a new key signature even if it repeats the previous key signature on the staff.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>10</td><td></td><td><br />
<b>Mixed rhythm chords</b><br />
* 0: Don't allow a mixture of white and black notes in chords.<br />
* 1: Allow mixture of white and black notes in chords.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>11</td><td></td><td><br />
<b>Suppress key signature flag </b><br />
* 0: display key signatures<br />
* 1: suppress printing of the key signature (such as for timpani parts).<br />
</td></tr><br />
<br />
<tr valign=baseline><td>12</td><td></td><td><br />
<b>Editorial slurs flag</b><br />
* 0: all slurs are regular.<br />
* 1: <tt>{ }</tt> amd <tt>z x</tt> slurs are editorial slurs (dashed slurs).<br />
</td></tr><br />
<br />
<tr valign=baseline><td>13</td><td></td><td><br />
<b>New clef sign flag </b><br />
* 0: Large clefs at start of system, cue-size clefs for clef changes.<br />
* 1: Always use large clefs.<br />
</td></tr><br />
<br />
</table><br />
<br />
|- valign="top"<br />
| {{anchor|l_option}}<b>=l</b><#>|| Length of a page. Distance is measured dots, at 300 dots to the inch. Default is 2740 dots. The default starting height is 120 dots. This will not be lowered, but may be raised to accommodate a longer page.<br />
<br />
|- valign="top"<br />
| {{anchor|m_option}}<b>=m</b><#> || Left margin, measured in at 300 dots/inch. The default is 200 dots<br />
<br />
|- valign="top"<br />
| {{anchor|M_option}}<b>=M</b> || include the contents of the MuseData source files in the Trailer section of the file embedded in PostScript comments (if MuseData [[stage2]] files are used as input.<br />
<br />
|- valign="top"<br />
| {{anchor|n_option}}<b>=n</b><#> || Maximum number of systems on a page. The default is no maximum.<br />
<br />
|- valign="top"<br />
| {{anchor|p_option}}<b>=p</b> || The source is a concatenated set of page specific i-files (also called .mpg files), not a set of MuseData files.<br />
<br />
|- valign="top"<br />
| {{anchor|P_option}}<b>=P</b> || include listings of the page specific i-files, which are the source of the output PostScript data. Each page is separated<br />
<br />
|- valign="top"<br />
| {{anchor|Q_option}}<b>=Q</b><#> || Duration which is assigned the minimum distance<br />
1 = whole notes<br />
... . . .<br />
8 = eighth notes<br />
16 = sixteenth notes, etc<br />
<br />
|- valign="top"<br />
| {{anchor|s_option}}<b>=s</b>^string^ || Custom left-hand spine. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=s^[(....)][(..)](.)[({..}..)]^<br />
Each dot in the system bracketing string represents one part, with the first dot in the string representing the top staff of the system. If a grand-staff is used for any part, then use the colon character (:) for that part. Staves which should be bracketed together are enclosed in square brackets: <tt>[]</tt>. Staves which should be braced together are enclosed in curly braces: <tt>{}</tt>. Staves which should be barred together (barlines connecting between staves) are enclosed in parentheses: <tt>()</tt>. The caret character (^) is used to mark the start and top of the option string. Subsequent options occur immediately after the second caret character with no intervening space.<br />
<br />
|- valign="top"<br />
| {{anchor|S_option}}<b>=S</b><#> || Add extra space between the title and the first system of music: 0 = use default, >0 = lower the first system (units are 1/300th of an inch).<br />
<br />
|- valign="top"<br />
|{{anchor|t_option}}<b>=t</b><#> || Top of page. Default is 120 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|T_option}}<b>=T</b>^string^ || Display the ''string'' as a title at the top of the (first) page. See <b>=u</b> for sub-title, and <b>=C</b> for composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|u_option}}<b>=u</b>^string^ || Display the ''string'' as a sub-title at the top of the (first) page. See <b>=T</b> for the title, and <b>=C</b> for the composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|v_option}}<b>=v</b><#,#,#...#> || Custom spacings. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=v192,192,192,208,192,208,176,176,176,200<br />
The above example setting for the =v option can be used for a system with 8 parts (such as 4 woodwinds, 2 horns, and 4 string instruments). The first seven values describe the spacing between each staff in the system, and the last value is the spacing between systems on the page. The spacing between staves and systems is constant with muse2ps. The spacing values are 1/10th of the distance between two staff lines, and the spacing value is the distance from the top of one staff to the top of the next staff (or the top of the last staff on a system to the top of the staff on the next system for the last value in the list). See the <tt>=g</tt> option for spacing the staves of a grand staff (such as for piano music). When a grand staff is part of a system with more parts, then the distance between the grand staff and the next system is the distance between the top of the bottom staff of the grand-staff pair and the top of the next staff.<br />
<br />
|- valign="top"<br />
| {{anchor|w_option}}<b>=w</b><#> || System width, measured in at 300 dots/inch. The default is 2050 dots<br />
<br />
|- valign="top"<br />
| {{anchor|W_option}}<b>=W</b>[#] || Thin barline flag. 0 = use regular barlines. 1 = use thin barlines. No number after <tt>=W</tt> means the same as <tt>=W0</tt>.<br />
<br />
|- valign="top"<br />
| {{anchor|x_option}}<b>=x</b> || Defeat all part inclusion suggestions in the data<br />
<br />
|- valign="top"<br />
| {{anchor|X_option}}<b>=X</b>[#] || Leave off the last barline (for short examples). 0 = print last bar, 1 = don't print last bar, <tt>=X</tt> without a number is equivalent to <tt>=X1</tt>. Note: you can add extra staff line space in the last bar by putting in <tt>irest</tt>s, but you must put <tt>irest</tt>s in all parts ,and they must all represent the same note type (duration). Note also: If the last bar line is anything but a regular measure line, it will continue to print.<br />
<br />
|- valign="top"<br />
|{{anchor|y_option}}<b>=y</b> || Defeat all line control suggestions in the data<br />
<br />
|- valign="top"<br />
|{{anchor|Y_option}}<b>=Y</b><#> || Suppress printing first time signature in score. Used for printing small examples which have a time signature in the data, but none desired in graphical notation. You can also use a time signature in the data of "<tt>T:9/0</tt>" to generate a <i>hidden</i> time signature, and not giving a time signature at the start of a file will result in not time signature being printed. 0 = print initial time signatures (used to override options embedded in data). 1 = suppress first time signature (<tt>=Y</tt> is equivalent to <tt>=Y1</tt>).<br />
<br />
|- valign="top"<br />
| {{anchor|z_option}}<b>=z</b><#> || Music size: choices are 6,14,16,18,21. 14 is the default. This value describes the distance between staff lines in units of 300 dots per inch.<br />
<br />
|}<br />
<br />
== Multi-file input specification ==<br />
<br />
Normally individual MuseData [[stage2]] files contain a single part. These part files are concatenated together and sent via standard input into the muse2ps program. In order for the muse2ps program to be able to segment the separate part files from the original stream the marked "<tt>/eof</tt>" is added after the last line in each file, and the marker "<tt>//</tt>" is ''required'' after the end of all datafile input into muse2ps. <br />
<br />
Typically the last line of a [[stage2]] MuseData file consists of the string "<tt>/END</tt>" (in uppercase), so add the line "<tt>/eof</tt>" (in lowercase) after it: <br />
/END<br />
/eof<br />
<br />
The very last three lines of input to muse2ps should should look like this:<br />
<br />
/END<br />
/eof<br />
//<br />
<br />
If you specify the =E option when running muse2ps, the "<tt>/END</tt>" markers will be used to segment the separate part files internally.<br />
<br />
The PERL script [[Media:collatemd2.pl|collatemd2]] (included with the source code to muse2ps) can be used to concatenate multiple [[stage2]] part files into a single input stream for muse2ps. The output of the PERL script can be saved to a file for later processing with muse2ps. In this case the recommended file extension for the multi-file MuseData content is <b>.md2</b> . Here are example uses of [[Media:collatemd2.pl|collatemd2]]:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
You many have to type "<tt>./collatemd2</tt>" instead of "<tt>collatemd2</tt>" if the perl program is in the current directory and the current directory is not in the command search path. If you download the program from this page, remove the .pl extension when saving (and use a lower-case first letter for the filename). You may have to set the permissions to allow it to be run as a program with the unix command: <tt>chmod 0755 collatemd2</tt>.<br />
<br />
Alternatively, you can save the output from [[Media:collatemd2.pl|collatemd2]] into a file for later use with muse2ps:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] > [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]]<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
When downloading MuseData [[stage2]] files from http://www.musedata.org , the parts are all combined into a single multi-file MuseData file which is the equivalent to the output from [[Media:collatemd2.pl|collatemd2]].<br />
<br />
=== Multiple Music Page files ===<br />
<br />
When concatenating multiple Music Page (MPG) files, separate each file's content with a line with the single capital letter "P" on it. Example of how to do this on the command line, creating a PDF file:<br />
<br />
<source lang="bash"><br />
for i in ??<br />
do<br />
cat $i<br />
echo P<br />
done | muse2ps =p | ps2pdf - - > output.pdf<br />
</source><br />
<br />
N.B.: Probably two slashes also need to be added at the end of the last page; otherwise, it will not print:<br />
<br />
//<br />
<br />
== Color highlighting ==<br />
<br />
A soon-to-be released update of muse2ps will allow for coloring of notes in the score. This colorization can be used in conjunction with displaying search results, or highlighting notes in an example. <br />
<br />
If you place an "R" character in column 14 for note (or rest) records, That note will be highlighted red. A capital "R" will also highlight the stem of the note, while a lower case "r" will color only the notehead. If multiple colored notes all share a common beam, then that beam is also highlighted.<br />
<br />
The letter "B" can be used in column 14 to color notes blue, and the letter "G" can be used to color notes green. The lowercase versions "r" and "g" can be used to color only the noteheads and not the stems.<br />
<br />
== Embedded options ==<br />
<br />
The <i>muse2ps</i> program can read options sent in the input data stream. Options can be embedded in the input data as single-line comments. In [[stage2]] files, single-line comments start with an at-sign (<tt>@</tt>) in the first column of the line. Following the comment marker comes an option identification string "<tt>muse2psv1</tt>", with "<tt>v1</tt>" being the option version level (currently level 1, and can be used in the future to keep options backwards and forwards compatible. Default options, listed in the previous section describing the options, can be overridden by using the default option setting method which adds two equal signs in a row, followed by any options. Multiple default option <br />
comments may occur to prevent the length of the line from getting too long (it is a good idea to limit the length of the line for full backwards compatibility with dmuse and [[stage2]] files, although the current line limit in dmuse/muse2ps is 900 characters).<br />
<br />
Option for specific music sizes can be set by placing the size option between the two equals signs in the option comment. Here is an example option comment header:<br />
<br />
@muse2psv1==z18<br />
@muse2psv1==T^Bach Chorale^u^bwv-277^C^J.S. Bach (1685-1750)^<br />
@muse2psv1=z14=v200,155,155,155j<br />
@muse2psv1=z18=v240,195,195,195j<br />
@muse2psv1=z21=v300,230,230,230j<br />
<br />
The first two lines are default option settings for all music sizes. The first line sets the default music size to 18 if no size is given on the command line to muse2ps. The second line sets the title, subtitle, and composer fields on the title page. The last three lines set the vertical spacing between staves at various music sizes; the first for size 14, then size 18, and the last line for size 21.<br />
<br />
== ps2pdf options ==<br />
<br />
The default behavior of the ps2pdf program is to assume that the input data is formatted for A4 paper. The default output size for muse2ps is US letter. In order for ps2pdf to generate output pages with the correct dimensions, add the option <tt>-sPAPERSIZE=letter</tt> as an argument to the program:<br />
ps2pdf -sPAPERSIZE=letter<br />
<br />
Another pair of useful options (not needed for output from muse2ps, but useful when adding footers at later states in data program) embed the fonts used in the file:<br />
ps2pdf -sPAPERSIZE=letter -dCompatibilityLevel=1.4 -dPDFSETTINGS=/prepress<br />
<br />
For example the Symbol font is not present on the Apple iPad PDF viewer. When using the options in this example, the Symbol font (or the portion used) would be embedded in the file and therefore viewable on an iPad.<br />
<br />
== Creating images ==<br />
<br />
Graphical images can be created in various ways. A good method is to convert PostScript output from muse2ps to a bitmap image with the unix command-line program pstopnm. For smaller examples and converting to other images formtas, Imagemagick's convert is another command-line which is useful. Both pstopnm and convert are often pre-installed on linux computers, and both are available for free on the internet. They should also work with OS X, and can be used in MS Windows using [http://www.cygwin.com cygwin].<br />
<br />
To create an image pipe the output from muse2ps into pstopnm, and convert to a bitmapped image at 300 dots per inch. Next pipe the resulting image to convert for further processing. In the following example, the image is first trimmed from a full page to just the area which contains the printed music, then the image is resized to 33% of the original size for use on the web, and saved into a PNG file.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -resize '33%' [[Media:scale.png|scale.png]]<br />
<br />
=== Transparent background ===<br />
<br />
Use the options <tt>-negate -alpha copy -negate</tt> to make the background of the image transparent so that it can be displayed on any background color. Here is the example image which was just created with the above command:<br />
<br />
[[Image:scale.png]]<br />
<br />
Notice that the background color of the image is white, which becomes noticeable when placing the image on a non-white background color. Now create an image with a transparent background:<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -negate -alpha copy -negate \<br />
-resize '33%' [[Media:scale-transparent.png|scale.png]]<br />
<center><br />
<table cellspacing=0 cellpadding=3><tr bgcolor=#ffffff><td bgcolor=#4499aa><br />
[[Image:scale-transparent.png]]<br />
</td><td width=10><br />
<td bgcolor=#ffaa44>[[Image:scale-transparent.png]]<br />
</td></tr></table></center><br />
<br />
<br />
=== Images for printed publications ===<br />
<br />
To insert musical examples in a Microsoft or similar word processing program, do not resize the image, but leave it at the 300 dots per inch size of the original. Then you can rescale the image in the word processor as necessary. This will optimize the quality of the image in the final printout from the word processor.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim [[Media:scale-large.png|scale.png]]<br />
<br />
== Humdrum interface ==<br />
<br />
The muse2ps program can be used in conjunction with the [http://extra.humdrum.org/man/hum2muse hum2muse] program. Here is an example of how to create graphical music notation using the following Humdrum data as an example:<br />
<br />
<table cellspacing=0><tr bgcolor=white valign=top><td><htmlet>beethoven-kern</htmlet></td><br />
<td width=10></td><br />
<td> <br />
<pre><br />
hum2muse file.krn | muse2ps \<br />
| ps2pdf - - > file.png<br />
</pre><br />
[[Image:beethoven-kern.png]] <br />
<br><br />
<br><br />
<br><br />
</td><br />
</tr><br />
</table><br />
<br />
Images can be generated from Humdrum data online by pasting/typing data into the [http://kern.humdrum.org/cgi-bin/kern/kseditor Humdrum online editor]. For example, copy and paste the above Humdrum data into the left black box on the Humdrum online editor page, and the click on the red "Generate" button to produce an image of the graphical music using the default settings.<br />
<br />
Here is the intermediate MuseData which is passed between [http://extra.humdrum.org/man/hum2muse hum2muse] and muse2ps: [[Media:beethoven-kern.md2 | beethoven.md2]]. Try copying / pasting<br />
this data into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in the same music notation as seen above.<br />
<br />
== Zbex programs ==<br />
<br />
In the muse2ps source code directory, the sub-directory <tt>zprogs</tt> contains the [[zbex]] programs used to generate the file zfun32.c. Most necessary files needed to create [http://www.ccarh.org/software/muse2ps/muse2ps/zfun32.c zfun32.c] are in that directory, but perhaps not all of them. These programs are not used directly by muse2ps, but are compiled into zbex executable code within zfun32.c. The muse2ps is essentially a non-interactive version of [[dmuse]] (see http://dmuse.ccarh.org). The [[dmuse]] program is a text editor which also has a built-in [[zbex]] language interpreter and graphical music display capabilities. The interpreter portion of [[dmuse]] has been extracted for non-interactive use in muse2ps.<br />
<br />
== Examples == <br />
<br />
Further examples of MuseData [[stage2]] files converted into graphical music notation with muse2ps can be found on the [[MuseData examples]] page.<br />
<br />
== Feature requests and bug reports ==<br />
<br />
See the page: [[Muse2ps feature requests and bug reports]].</div>Edchttps://wiki.ccarh.org/index.php?title=Muse2ps&diff=10499Muse2ps2021-03-30T14:32:07Z<p>Edc: /* Extracting MPG intermediate data */</p>
<hr />
<div>__TOC__<br />
<br />
== Overview == <br />
<br />
The <b>muse2ps</b> program is a command-line version of the [[autoset]], [[mskpage]] and [[pspage]] programs which are usually run within the [[dmuse]] editor using the built-in [[zbex language]] interpreter. The ''muse2ps'' program reads MuseData [[stage2]] data or [[page file]] data from standard input and converts them into PostScript data representing graphical musical notation which is sent to standard output. The following diagram illustrates the flow of data through ''muse2ps'':<br />
<br />
<br />
<center><br />
[[File:muse2ps-dataflow.svg]]<br />
</center><br />
<br />
The ''muse2ps'' program can accept two forms of input. By default, the ''muse2ps'' program will read multi-file [[stage2]] data from standard input. MuseData [[stage2]] files contain primarily symbolic musical data with possibly a little bit of formatting information (such as system and page breaks). The ''muse2ps'' program will format this symbolic music internally into [[page files]] which give explicit information about the placement of notes, slurs, beams, dynamics, lyrics, ''etc.'' on each page of music.<br />
<br />
Alternatively, if the <tt>=p</tt> option is given as an [[argument]] to ''muse2ps'', the program can read multi-file [[page files]] directly from standard input. Typically, [[stage2]] files are converted automatically into [[pages files]] and then further processing is done on these [[page files]] in order to produce a final typeset score of the graphical music notation. For example, the [[vskpage]] is used to refine the vertical spacing of staves and systems on a page of music within [[page files]], and [[eskpage]] is used to interactively edit the position of graphical elements within [[page files]].<br />
<br />
The only output from ''muse2ps'' (besides error messages) is PostScript data which describes the graphical music notation in a printable score of the music. This data can be further processed, such as sending directly to a PostScript printer, or converting into PDF files for web distrubution of the notated music. The representation of music notation within the PostScript file is in the form of bit-mapped musical fonts. The musical fonts are designed for use with 300 DPI resolution printers when printed at the native resolution (originally these fonts were designed for [http://en.wikipedia.org/wiki/Printer_Command_Language PCL-based printers]). These fonts have the unique feature of [http://en.wikipedia.org/wiki/Dither dithered] edges on sloped beams to minimize the visual effect of pixel stepping at 300 DPI resolution. Minor notation editing can be done on the PostScript/PDF files in programs such as Adobe Illustrator. If you print via PDF files, you may want to uncheck the page-scaling option in the printing program in order to avoid aliasing artifacts in the hard copy due to changing the intended size of the music on the page. <br />
<br />
Two other forms of data can be embedded within the PostScript output. If the <tt>=M</tt> option is given as an [[argument]] to the ''muse2ps'' program, then the original [[stage2]] data will be stored within comments in the PostScript data. Likewise, if the <tt>=P</tt> option is given, the [[page file]] data will be included in the PostScript output as comments. The [[page file]] data will either come from automatic generation using [[autoset]]/[[mskpage]], or from standard input if you use the <tt>=p</tt> option.<br />
<br />
There are also numerous options which primarily deal with the formatting of [[stage2]] files with the [[autoset]] and [[mskpage]] program components. See the [[#Options| options]] section below for a complete list of the options.<br />
<br />
== Download ==<br />
<br />
The ''muse2ps'' program executables for various operating systems or the source code can be downloaded from the following table. <b>Instructions for setting up the program for use can be found ''[[Muse2ps_installation_instructions| here]]''.</b><br />
<br />
<br />
<center><br />
{{muse2psdownloadtable}}<br />
</center><br />
<br />
== Online ==<br />
<br />
The ''muse2ps'' program can be run online at http://www.musedata.org/mdconverter . If you click on [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icons next to data found on the http://www.musedata.org website, the musical data will be loaded into this online converter from which PostScript, PDF, or PNG images of the music can be generated. <br />
<br />
For example, click on the [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icon on the information page for this [http://www.musedata.org/encodings/bach/bg/chorals/0428/ Bach chorale], then click on the {{keypress|Submit}} button on the converter page to generate a PDF file of the chorale with the default settings. Then try setting some options, such as using "<tt>[(.)(.)(.)(.)]</tt>" for the <b>System spine</b> option to prevent barlines from being drawn between staves in the score.<br />
<br />
You can create your own MuseData content and print with the online converter as well. Copy and paste the following MuseData content: [[Media:beethoven-kern.md2 | beethoven.md2]] into into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in this graphical music notation:<br />
<center><br />
[[Image:beethoven-kern.png]]<br />
</center><br />
<br />
== Command-line examples ==<br />
<br />
The simplest use of ''muse2ps'' is to send it MuseData [[stage2]] files as standard input, and save standard output from the program into a PostScript file:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps > [[Media:bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
<br />
You may need to use "<tt>./muse2ps</tt>" instead of "<tt>muse2ps</tt>" in the above command if the ''muse2ps'' program file is in the current directory, but the current directory is not in your [http://en.wikipedia.org/wiki/PATH_%28variable%29 command search path]. The PostScript output can then be further processed in an external program. Usually it is more convenient to work with the data as a PDF file. The process of converting PostScript to PDF can be done by many methods. For example, Acrobat Distiller or Acrobat Professional will convert PostScript files into PDF files. There are online converters, such as this one: http://www.ps2pdf.com/convert.htm . And on most linux computers you can convert PostScript into PDF files using the [http://pages.cs.wisc.edu/~ghost/doc/gnu/5.50/Ps2pdf.htm ps2pdf] command:<br />
ps2pdf [[Media:Bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
This will create the file [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]] (replacing the .ps extension with a .pdf extention automatically when saving the PDF file). If you click on the PDF file link in the previous sentence, you should see the musical notation for J.S. Bach's Well-Tempered Clavier, Book I, Prelude 1 in C major.<br />
<br />
An alternate method of using ps2pdf to generate a PDF file in a single step in conjunction with ''muse2ps'' would be with this command-line construction:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps | ps2pdf - > [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]]<br />
<br />
=== Last system justification ===<br />
<br />
By default ''muse2ps'' does not right-justify the last system of the music on the last page of the output (as can be seen in [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]]). If you<br />
want to justify the last system, use the <tt>=j</tt> option as an argument to ''muse2ps'':<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =j | ps2pdf - > [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]<br />
The ''muse2ps'' (or more precisely, the internal [[mskpage]] component) will possibly adjust line breaks on one or more of the previous systems in the score in order to fill enough music onto the last system, and then stretch or contract the music on the last system to fit the width between margins exactly. The <tt>=j</tt> option can potentially take significantly more time to process the input data than when it is omitted. The reason for the increased processing time can be seen by comparing [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]] and [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]. In order to right-justify the last system of the music, all systems in the music were recursively re-typeset so that the first system in the music contains only three measures instead of four.<br />
<br />
=== Grand-Staff vertical spacing ===<br />
<br />
The distance between staves in the grand staff (which is used for instruments such as the piano) can be controlled by the =g option. An integer number follows after the letter "g" in the option which specifies the distance between the two staves in terms of 1/10ths of the distance between staff lines. The default value for this option is =g100 which means that the distance between the top line of each staff is 10 staff lines.<br />
<br />
Here is an example of reducing the spacing between the staves to nothing. The =g50 option in this case means that the distance between the top of each staff is 5 staff lines. And since this is the height of a single staff, there will be no space between the two staves:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =g50 | ps2pdf - > [[Media:bach-wtc1p01-g50.pdf|bach-wtc1p01-g50.pdf]]<br />
<br />
<br />
=== Single-staff spacing in a system ===<br />
<br />
A ''system'' is a collection of staves which represent different instruments playing at the same time. The distance between these staves can be controlled with the =v option. Following =v is a list of comma-separated integers (with no intervening spaces). The unit for these numbers is the same as in the =g option: 1/10th of the distance between successive staff lines.<br />
<br />
The default spacing between staves will depend on whether they are supposed to be barred together or not. Here is the default spacing for four staves of a string quartet:<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
=== Using multiple options ===<br />
<br />
In the previous examples, the prelude is printed on two pages, with a single orphan system occurring on the second page. One way to force the music to fit onto a single page is to set the top margin from 120 pixels to 0 pixels with the option <tt>=t0</tt> and the printable length on the page to 3000 pixels (10 inches) with the option <tt>=l3000</tt>. When supplying multiple optional settings to muse2ps, there is only one option string which starts with the equals character (<tt>=</tt>) and is followed by all options with no spaces. Here is an example of using the <tt>=t0</tt>, <tt>=l3000</tt> and <tt>=j</tt> options at the same time, resulting in a single page of music:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =jt0l3000 | ps2pdf - > [[Media:bach-wtc1p01-jt0l3000.pdf|bach-wtc1p01-jt0l3000.pdf]]<br />
The order of the options in the option string is not important, so for example, "<tt>=l3000t0j</tt>" would yield the same results as "<tt>=jt0l3000</tt>".<br />
<br />
Instead of adjusting the vertical margins with the <tt>=t</tt> and <tt>=l</tt> options, you can also decrease the spacing between staves globally on the system. To do this, use the =v option followed by a list of distances between each staff on the system. In this example there are two staves in each system, so one value is expected after "=v". If there were three or more staves, then the vertical spacing values are separated by commas (and no spaces).<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =v160jt300 | ps2pdf - > [[Media:bach-wtc1p01-v160jt300.pdf|bach-wtc1p01-v160jt300.pdf]]<br />
<br />
In the above example, "<tt>=v160</tt>" means make the spacing between staves on the system slightly more than 1/2 an inch; "<tt>=j</tt>" means to right-justify the last system of music; and "<tt>t300</tt>" means add an extra inch to the top margin (the default setting is "<tt>=t120</tt>".<br />
<br />
=== Music size ===<br />
<br />
The ''muse2ps'' program can typeset music in several sizes: 6, 14, 16, 18 and 21. These numbers refer to the pixel count (at 300 DPI) between successive staff lines. For example, here is a zoom-in of music typeset using the size 6 font, where each staff line is one pixel wide, and there are 5 pixels in the gap between lines, making each staff line spaced every 6 pixels and hence the name "size 6":<br />
<br />
<center><br />
[[File:Dmuse-size6.png|411px]]<br />
</center><br />
<br />
<br />
The default size that ''muse2ps'' will typeset music in is size 14. To display the music at other sizes, use the <tt>=z</tt> option followed by the size. Here is the example prelude printed in all sizes (with right-justification of the last system using <tt>=j</tt> also added to the option string):<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z6j&nbsp;&nbsp;| ps2pdf - > [[Media:bach-wtc1p01-z6j.pdf|bach-wtc1p01-z6j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z14j | ps2pdf - > [[Media:bach-wtc1p01-z14j.pdf|bach-wtc1p01-z14j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z16j | ps2pdf - > [[Media:bach-wtc1p01-z16j.pdf|bach-wtc1p01-z16j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z18j | ps2pdf - > [[Media:bach-wtc1p01-z18j.pdf|bach-wtc1p01-z18j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z21j | ps2pdf - > [[Media:bach-wtc1p01-z21j.pdf|bach-wtc1p01-z21j.pdf]]<br />
<br />
Full-scores are typically printed at size 14 (particularly scores with many parts). Parts for performers are typically printed at sizes 18 or 21. Piano music is typically printed at size 16, and Size 18 has dither on two-pixel wide staff lines. The approximate equivalents to point sizes in regular text (multiplying by the factor 72/300 and then multiplying by 3):<br />
<br />
<center><br />
{| class="wikitable" cellpadding="0" cellspacing="0" border="0"<br />
|- |- {{Style|table header}}<br />
! scope="col" align="left" | MuseData music size<br />
! scope="col" align="left" | Staff height (mm)<br />
! score="col" align="left" | Approximate text font size<br />
! score="col" align="left" | Musical application<br />
|-<br />
| 6 || 2.03 mm || 4 pt || none<br />
|-<br />
| 14 || 4.74 mm || 10 pt || full scores<br />
|-<br />
| 16 || 5.42 mm || 11.5 pt || piano music, vocal scores<br />
|-<br />
| 18 || 6.10 mm || 13 pt || instrumental parts<br />
|-<br />
| 21 || 7.11 mm || 15 pt || large-size instrumental parts<br />
|}<br />
</center><br />
<br />
=== Extracting MPG intermediate data ===<br />
<br />
When a MuseData [[stage2]] file is converted into graphical music notation as PostScript output from ''muse2ps'', it will pass through two data transformation steps. The first step is a conversion from [[stage2]] data into non-page-specific [[i-files]] which is accomplished with the [[autoset]] component. Then these "non-page-specific" [[i-files]] are converted into "page-specific" [[page files|i-files]] (or Music Page (MPG) files) which describe the precise position of musical elements on each page of typeset music. This [[music page]] data can be extracted from the program surreptitiously by using the "=P" option. This will cause the [[MPG]] data to be embedded in comments within the PostScript output. Each page of MPG data will be stored in a sequence of comments starting with "<tt>%=BeginMPGData: 1</tt>", where <tt>1</tt> is the data for page one. And each page of MPG data is ended by the comment <tt>"%=EndMPGData: 1"</tt>.<br />
<br />
All MuseData/dmuse related comments in the PostScript output start with the comment marker "%=", so the MPG data can easily be separated from the PostScript content and other irrelevant comments in a manner such as this:<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =P | grep "^%=" > [[Media:Mpg-comments.txt|mpg-comments.txt]]<br />
The [[regular expression]] search string "<tt>^%=</tt>" used in the [http://en.wikipedia.org/wiki/Grep grep] command means extract lines from the input which start with the two characters "<tt>%=</tt>".<br />
<br />
A PERL utility program, called [[Media:unpackmpg.pl|unpackmpg]], for extracting the MPG data from the comments is included with the source code for ''muse2ps'':<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =Pg85jt200l3000 | [[Media:unpackmpg.pl|unpackmpg]] > [[Media:Mpg-comments.mpg|mpg-comments.mpg]]<br />
In the above command the options mean:<br />
* <tt>=P</tt>: Output [[music page]] data.<br />
* <tt>=g85</tt>: Set the distance between the staves in the grand staff to 8.5 staff lines (default is 100, or 10 staff lines).<br />
* <tt>=j</tt>: Right-justify the last system of the music.<br />
* <tt>=t200</tt>: Set the top margin to 2/3 of a inch below the base position.<br />
* <tt>=l3000</tt>: Set the vertical printable region to 10 inches.<br />
<br />
=== Inputting MPG data (adding a title) ===<br />
<br />
The extracted [[music page]] data from the previous section can be edited (such as to add a title) and then can be reprocessed by ''muse2ps'' to generate PostScript output:<br />
cat [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] | muse2ps =p | ps2pdf - > [[Media:Bach-wtc1p01-title.pdf|bach-wtc1p01-title.pdf]]<br />
<br />
In this case the file [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] is the equivalent to the MPG data generated by ''muse2ps'' in the previous section: [[Media:Mpg-comments.mpg|mpg-comments.mpg]], but with these three lines added to generate a title for the first page:<br />
<br />
<pre><br />
X 14<br />
X 46 1200C 0 Well-tempered Clavier, Book I, prelude 1 in C major<br />
X 37 1200C 50 BWV 846<br />
</pre><br />
<br />
The first line sets the font indexes relative to music size 14. The second line places the line at "1200C 0" which means center the line horizontally at location 1200 (4 inches from the left margin), and position the line vertically at position 0 (0 inches below the top margin).<br />
<br />
[[Music page]] data for many of the score on http://www.musedata.org are available as both [[stage2]] files and [[music page]] files. Using the [[music page]] files as input to ''muse2ps'' will generate better graphical notation results, since the automatically typeset data from the [[stage2]] files has been proofread and adjusted by a human.<br />
<br />
== Options ==<br />
<br />
Below is a list of the options which muse2ps understands. Options are given<br />
as the first (and only) argument to the program, staring with an equals sign (=), then followed by the options in any order, with no spaces between the options. For example, to set the music size to 18 and right-justify the last system on the last page, use the option string =z21j:<br />
cat file.md2 | muse2ps =z21j > file.ps<br />
When using characters which my be parsed by the command-line interpreter, you will have to enclose the option string in single quotes (you can do this all of the time if you are uncertain of the conditions in which they would be required):<br />
cat file.md2 | muse2ps '=z21js^{(..}}^T^title^' | ps2pdf - > file.pdf<br />
<br />
In option strings such as "=c<#>", replace <#> with an integer. <tt>[#]</tt> indicates an optional number.<br />
<br />
{|class="wikitable" cellpadding="0" cellspacing="0" border="0" style="width:100%"<br />
|- {{Style|table header}}<br />
! scope="col" width="100px" align="center"| muse2ps option index<br />
|-<br />
| <div style="column-count:3;-moz-column-count:3;-webkit-column-count:3"><br />
* {{nowrap|{{mopt|c}} compression}}<br />
* {{nowrap|{{mopt|C}} composer}}<br />
* {{nowrap|{{mopt|d}} diagnostics}}<br />
* {{nowrap|{{mopt|D}} dash spacing}}<br />
* {{nowrap|{{mopt|E}} eof insertion}}<br />
* {{nowrap|{{mopt|f}} fill by staff}}<br />
* {{nowrap|{{mopt|F}} fill by system}}<br />
* {{nowrap|{{mopt|g}} grand staff spacing}}<br />
* {{nowrap|{{mopt|G}} group selection}}<br />
* {{nowrap|{{mopt|h}} note space}}<br />
* {{nowrap|{{mopt|i}} indentation flag}}<br />
* {{nowrap|{{mopt|I}} indentation amount}}<br />
* {{nowrap|{{mopt|j}} justification}}<br />
* {{nowrap|{{mopt|k}} display options}}<br />
* {{nowrap|{{mopt|l}} page length}}<br />
* {{nowrap|{{mopt|m}} left margin}}<br />
* {{nowrap|{{mopt|M}} embed stage2 data}}<br />
* {{nowrap|{{mopt|n}} number of systems}}<br />
* {{nowrap|{{mopt|p}} page files input}}<br />
* {{nowrap|{{mopt|P}} embed page files}}<br />
* {{nowrap|{{mopt|Q}} min. dist. dur.}}<br />
* {{nowrap|{{mopt|s}} system spine}}<br />
* {{nowrap|{{mopt|S}} title/system space}}<br />
* {{nowrap|{{mopt|t}} top margin}}<br />
* {{nowrap|{{mopt|T}} title}}<br />
* {{nowrap|{{mopt|u}} subtitle}}<br />
* {{nowrap|{{mopt|v}} staff spacing}}<br />
* {{nowrap|{{mopt|w}} system width}}<br />
* {{nowrap|{{mopt|W}} thin barlines}}<br />
* {{nowrap|{{mopt|x}} no suggestions}}<br />
* {{nowrap|{{mopt|X}} no last barline}}<br />
* {{nowrap|{{mopt|y}} no line controls}}<br />
* {{nowrap|{{mopt|Y}} no initial time sig.}}<br />
* {{nowrap|{{mopt|z}} music size}}<br />
</div><br />
|}<br />
<br><br />
<br />
See also the Dmuse text file [[Media:muse2ps-options.dm | options.dm]], or the HTML equivalent [[Media:muse2ps-options.html| options.html]] for a brief description of each option.<br />
<br />
{| style="background-color:white" cellpadding="4"<br />
|- valign="top"<br />
| {{anchor|c_option}}<b>=c</b><#>|| Compression factor: This is measured as a percentage of the default. 100 = no compression (100%). Use smaller values to decrease the spacing between notes (allowing fewer pages in the score). Values larger than 100 will expand the distance between notes (increasing the number of pages in the score). This option is useful to force the last system of music to occur at the bottom of a page.<br />
<br />
|- valign="top"<br />
|{{anchor|C_option}}<b>=C</b>^string^ || Display the ''string'' as the composer's name at the top right side of the first page. See <b>=T</b> for the title, and <b>=u</b> for the sub-title. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|d_option}}<b>=d</b><#> || Diagnostics and Error Messages.<br />
bit 0 of #: ON = print error messages<br />
bit 1 of #: ON = print all diagnostics<br />
bit 2 of #: ON = print diagnostics from autoset<br />
bit 3 of #: ON = print diagnostics from mskpage<br />
bit 4 of #: ON = print diagnostics from pspage<br />
no number = 0x01: print error messages<br />
For example, =d31 turns on all error message toggles. This option is useful if the output PostScript data from muse2ps is empty. The messages go to standard error, while the PostScript data goes to standard output. Therefore, you can print the error messages and still save or pipe the PostScript data without the error messages mixing with the output data.<br />
<br />
|- valign="top"<br />
| {{anchor|D_option}}<b>=D</b> || spacing between dashes. Will over-ride spacing in stage2 files: 0 = use default, >0 = space between dashes (units are dash length)<br />
<br />
|- valign="top"<br />
| {{anchor|E_option}}<b>=E</b> || <tt>/END</tt> = <tt>/eof</tt>. The muse2ps program allows for multiple parts to be entered from standard input in a single stream of data. Normally the data files representing each part are separated from each other by a line containing only "<tt>/eof</tt>" (lowercase; meaning "End of File"). Separate MuseData [[stage2]] files do not typically end in "<tt>/eof</tt>", but rather, they are required to contain the line "<tt>/END</tt>" (uppercase) to indicate the end of the data. After "<tt>/END</tt>", any textual comments are allowed. With the =E option, you do not need to separate files by "<tt>/eof</tt>", and instead, the next file in the sequence will start on the line coming after "<tt>/END</tt>". Note, however, that you cannot use the =E option if there is any commentary after "<tt>/END</tt>" in a file.<br />
<br />
|- valign="top"<br />
| {{anchor|f_option}}<b>=f</b> || Fill pages to the bottom by proportionally stretching all spacings. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|F_option}}<b>=F</b> || Fill pages to the bottom by adding to the intersystem space only. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|g_option}}<b>=g</b><#>|| Grand staff intra-space measured in multiples of ledger lines times 10. The default is 100, which is 10 ledger lines. Note that this distance reference is different from the =v values which define the distance from the top of one staff to the top of the next staff. For the =g, option, the distance is from the bottom of the top staff to the top of the bottom staff.<br />
<br />
|- valign="top"<br />
| {{anchor|G_option}}<b>=G</b>^group-name^ || Group name to process. The default is "score". Available groups are found on data line 11 at the top of each MuseData [[stage2]] file (excluding any single- or multi-line comments). Other possibilities might be "part" or "data".<br />
<br />
|- valign="top"<br />
| {{anchor|h_option}}<b>=h</b><#> || Alter the minimum allowed space between notes. This is measured as a percentage of the default. 100 = no change (100%).<br />
<br />
|- valign="top"<br />
|{{anchor|i_option}}<b>=i</b><#> || Initial system indentation options flag.<br />
* 0 = use program defaults (set indentation with <tt>=I</tt> option).<br />
* 1 = no indentation of first system of music<br />
* 2 = indent first system, and after every forced system break.<br />
<br />
|- valign="top"<br />
| {{anchor|I_option}}<b>=I</b><#> || Specify the indentation amount for the first system in the music. If zero, then default indentation amount will be used. (see the <tt>=i</tt> option for turning off indentation).<br />
<br />
|- valign="top"<br />
|{{anchor|j_option}}<b>=j</b> || Right-justify the last system of the music so that it extends all of the way across the page. The default is NOT to right justify. Right-justification is a recursive process where measures from previous systems may be moved ahead in the score to cause all systems to have approximately the same note density.<br />
<br />
|- valign="top"<br />
| {{anchor|k_option}}<b>=k</b>^0x<tt>#</tt>^ || Display alternative options. Options are stored in a hexadecimal number prefixed with the string "<tt>0x</tt>" (C program-styled hex number). The default values are the 0 bit settings. The meaning of the bits in the hexadecimal number are (from least significant to most significant bit):<br />
<br />
<table cellpadding=0 cellspacing=0><br />
<tr valign=baseline><th>bit</th><td width=10></td><th>meaning</th></tr><br />
<br />
<tr valign=baseline><td>0</td><td></td><td><br />
<b>k-option activation flag</b><br />
* 1: <i>k</i> option is active, read options in more significant bits.<br />
* 0: <i>k</i> option is inactive. Used to turn off this option as a command-line over-ride.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>1</td><td></td><td><br />
<b>Sforzando/rfz flag</b><br />
* 0: display sforzando as sf (rf)<br />
* 1: display sforzando as sfz (rfz)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>2</td><td></td><td><br />
<b>Sub-edit flag</b><br />
* 0: diplay editorial markup differently from regular data (such as adding brackets around editorial elements).<br />
* 1: do not display editorial data differently from regular data.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>3</td><td></td><td><br />
<b>No-editorial flag</b><br />
* 0: display editorial markup data.<br />
* 1: do not display editorial markup data.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>4</td><td></td><td><br />
<b> Editorial markup in Roman font flag</b><br />
* 0: use cue-size music fonts for editorial marks.<br />
* 1: use Times-Roan font for editorial marks: tr, dynamics<br />
</td></tr><br />
<br />
<tr valign=baseline><td>5</td><td></td><td><br />
<b>Ligature flag</b><br />
* 0: do not use ligatures in text.<br />
* 1: use ligatures for "ffl", "ffi", "ff", "fl", and "fi".<br />
</td></tr><br />
<br />
<tr valign=baseline><td>6</td><td></td><td><br />
<b>figured harmony flag</b><br />
* 0: place figured harmony (figured bass) below the staff.<br />
* 1: place figured harmony (figured bass) above the staff.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>7</td><td></td><td><br />
<b> mheavy4 barline style flag</b><br />
* 0: mheavy4 barline represented by two heavy lines.<br />
* 1: mheavy4 barline represented by one thin, one thick, and then another thin line.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>8</td><td></td><td><br />
<b>Multi-voice augmentation dot option</b><br />
* 0: allow overstrike of dots in different voices.<br />
* 1: do now allow overstrike<br />
</td></tr><br />
<br />
<tr valign=baseline><td>9</td><td></td><td><br />
<b>New key signatures option</b><br />
* 0: don't print a new key signature if it is the same as the previous one on the staff.<br />
* 1: print a new key signature even if it repeats the previous key signature on the staff.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>10</td><td></td><td><br />
<b>Mixed rhythm chords</b><br />
* 0: Don't allow a mixture of white and black notes in chords.<br />
* 1: Allow mixture of white and black notes in chords.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>11</td><td></td><td><br />
<b>Suppress key signature flag </b><br />
* 0: display key signatures<br />
* 1: suppress printing of the key signature (such as for timpani parts).<br />
</td></tr><br />
<br />
<tr valign=baseline><td>12</td><td></td><td><br />
<b>Editorial slurs flag</b><br />
* 0: all slurs are regular.<br />
* 1: <tt>{ }</tt> amd <tt>z x</tt> slurs are editorial slurs (dashed slurs).<br />
</td></tr><br />
<br />
<tr valign=baseline><td>13</td><td></td><td><br />
<b>New clef sign flag </b><br />
* 0: Large clefs at start of system, cue-size clefs for clef changes.<br />
* 1: Always use large clefs.<br />
</td></tr><br />
<br />
</table><br />
<br />
|- valign="top"<br />
| {{anchor|l_option}}<b>=l</b><#>|| Length of a page. Distance is measured dots, at 300 dots to the inch. Default is 2740 dots. The default starting height is 120 dots. This will not be lowered, but may be raised to accommodate a longer page.<br />
<br />
|- valign="top"<br />
| {{anchor|m_option}}<b>=m</b><#> || Left margin, measured in at 300 dots/inch. The default is 200 dots<br />
<br />
|- valign="top"<br />
| {{anchor|M_option}}<b>=M</b> || include the contents of the MuseData source files in the Trailer section of the file embedded in PostScript comments (if MuseData [[stage2]] files are used as input.<br />
<br />
|- valign="top"<br />
| {{anchor|n_option}}<b>=n</b><#> || Maximum number of systems on a page. The default is no maximum.<br />
<br />
|- valign="top"<br />
| {{anchor|p_option}}<b>=p</b> || The source is a concatenated set of page specific i-files (also called .mpg files), not a set of MuseData files.<br />
<br />
|- valign="top"<br />
| {{anchor|P_option}}<b>=P</b> || include listings of the page specific i-files, which are the source of the output PostScript data. Each page is separated<br />
<br />
|- valign="top"<br />
| {{anchor|Q_option}}<b>=Q</b><#> || Duration which is assigned the minimum distance<br />
1 = whole notes<br />
... . . .<br />
8 = eighth notes<br />
16 = sixteenth notes, etc<br />
<br />
|- valign="top"<br />
| {{anchor|s_option}}<b>=s</b>^string^ || Custom left-hand spine. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=s^[(....)][(..)](.)[({..}..)]^<br />
Each dot in the system bracketing string represents one part, with the first dot in the string representing the top staff of the system. If a grand-staff is used for any part, then use the colon character (:) for that part. Staves which should be bracketed together are enclosed in square brackets: <tt>[]</tt>. Staves which should be braced together are enclosed in curly braces: <tt>{}</tt>. Staves which should be barred together (barlines connecting between staves) are enclosed in parentheses: <tt>()</tt>. The caret character (^) is used to mark the start and top of the option string. Subsequent options occur immediately after the second caret character with no intervening space.<br />
<br />
|- valign="top"<br />
| {{anchor|S_option}}<b>=S</b><#> || Add extra space between the title and the first system of music: 0 = use default, >0 = lower the first system (units are 1/300th of an inch).<br />
<br />
|- valign="top"<br />
|{{anchor|t_option}}<b>=t</b><#> || Top of page. Default is 120 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|T_option}}<b>=T</b>^string^ || Display the ''string'' as a title at the top of the (first) page. See <b>=u</b> for sub-title, and <b>=C</b> for composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|u_option}}<b>=u</b>^string^ || Display the ''string'' as a sub-title at the top of the (first) page. See <b>=T</b> for the title, and <b>=C</b> for the composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|v_option}}<b>=v</b><#,#,#...#> || Custom spacings. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=v192,192,192,208,192,208,176,176,176,200<br />
The above example setting for the =v option can be used for a system with 8 parts (such as 4 woodwinds, 2 horns, and 4 string instruments). The first seven values describe the spacing between each staff in the system, and the last value is the spacing between systems on the page. The spacing between staves and systems is constant with muse2ps. The spacing values are 1/10th of the distance between two staff lines, and the spacing value is the distance from the top of one staff to the top of the next staff (or the top of the last staff on a system to the top of the staff on the next system for the last value in the list). See the <tt>=g</tt> option for spacing the staves of a grand staff (such as for piano music). When a grand staff is part of a system with more parts, then the distance between the grand staff and the next system is the distance between the top of the bottom staff of the grand-staff pair and the top of the next staff.<br />
<br />
|- valign="top"<br />
| {{anchor|w_option}}<b>=w</b><#> || System width, measured in at 300 dots/inch. The default is 2050 dots<br />
<br />
|- valign="top"<br />
| {{anchor|W_option}}<b>=W</b>[#] || Thin barline flag. 0 = use regular barlines. 1 = use thin barlines. No number after <tt>=W</tt> means the same as <tt>=W0</tt>.<br />
<br />
|- valign="top"<br />
| {{anchor|x_option}}<b>=x</b> || Defeat all part inclusion suggestions in the data<br />
<br />
|- valign="top"<br />
| {{anchor|X_option}}<b>=X</b>[#] || Leave off the last barline (for short examples). 0 = print last bar, 1 = don't print last bar, <tt>=X</tt> without a number is equivalent to <tt>=X1</tt>. Note: you can add extra staff line space in the last bar by putting in <tt>irest</tt>s, but you must put <tt>irest</tt>s in all parts ,and they must all represent the same note type (duration). Note also: If the last bar line is anything but a regular measure line, it will continue to print.<br />
<br />
|- valign="top"<br />
|{{anchor|y_option}}<b>=y</b> || Defeat all line control suggestions in the data<br />
<br />
|- valign="top"<br />
|{{anchor|Y_option}}<b>=Y</b><#> || Suppress printing first time signature in score. Used for printing small examples which have a time signature in the data, but none desired in graphical notation. You can also use a time signature in the data of "<tt>T:9/0</tt>" to generate a <i>hidden</i> time signature, and not giving a time signature at the start of a file will result in not time signature being printed. 0 = print initial time signatures (used to override options embedded in data). 1 = suppress first time signature (<tt>=Y</tt> is equivalent to <tt>=Y1</tt>).<br />
<br />
|- valign="top"<br />
| {{anchor|z_option}}<b>=z</b><#> || Music size: choices are 6,14,16,18,21. 14 is the default. This value describes the distance between staff lines in units of 300 dots per inch.<br />
<br />
|}<br />
<br />
== Multi-file input specification ==<br />
<br />
Normally individual MuseData [[stage2]] files contain a single part. These part files are concatenated together and sent via standard input into the muse2ps program. In order for the muse2ps program to be able to segment the separate part files from the original stream the marked "<tt>/eof</tt>" is added after the last line in each file, and the marker "<tt>//</tt>" is ''required'' after the end of all datafile input into muse2ps. <br />
<br />
Typically the last line of a [[stage2]] MuseData file consists of the string "<tt>/END</tt>" (in uppercase), so add the line "<tt>/eof</tt>" (in lowercase) after it: <br />
/END<br />
/eof<br />
<br />
The very last three lines of input to muse2ps should should look like this:<br />
<br />
/END<br />
/eof<br />
//<br />
<br />
If you specify the =E option when running muse2ps, the "<tt>/END</tt>" markers will be used to segment the separate part files internally.<br />
<br />
The PERL script [[Media:collatemd2.pl|collatemd2]] (included with the source code to muse2ps) can be used to concatenate multiple [[stage2]] part files into a single input stream for muse2ps. The output of the PERL script can be saved to a file for later processing with muse2ps. In this case the recommended file extension for the multi-file MuseData content is <b>.md2</b> . Here are example uses of [[Media:collatemd2.pl|collatemd2]]:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
You many have to type "<tt>./collatemd2</tt>" instead of "<tt>collatemd2</tt>" if the perl program is in the current directory and the current directory is not in the command search path. If you download the program from this page, remove the .pl extension when saving (and use a lower-case first letter for the filename). You may have to set the permissions to allow it to be run as a program with the unix command: <tt>chmod 0755 collatemd2</tt>.<br />
<br />
Alternatively, you can save the output from [[Media:collatemd2.pl|collatemd2]] into a file for later use with muse2ps:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] > [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]]<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
When downloading MuseData [[stage2]] files from http://www.musedata.org , the parts are all combined into a single multi-file MuseData file which is the equivalent to the output from [[Media:collatemd2.pl|collatemd2]].<br />
<br />
=== Multiple Music Page files ===<br />
<br />
When concatenating multiple Music Page (MPG) files, separate each file's content with a line with the single capital letter "P" on it. Example of how to do this on the command line, creating a PDF file:<br />
<br />
<source lang="bash"><br />
for i in ??<br />
do<br />
cat $i<br />
echo P<br />
done | muse2ps =p | ps2pdf - - > output.pdf<br />
</source><br />
<br />
N.B.: Probably two slashes also need to be added at the end of the last page; otherwise, it will not print:<br />
<br />
//<br />
<br />
== Color highlighting ==<br />
<br />
A soon-to-be released update of muse2ps will allow for coloring of notes in the score. This colorization can be used in conjunction with displaying search results, or highlighting notes in an example. <br />
<br />
If you place an "R" character in column 14 for note (or rest) records, That note will be highlighted red. A capital "R" will also highlight the stem of the note, while a lower case "r" will color only the notehead. If multiple colored notes all share a common beam, then that beam is also highlighted.<br />
<br />
The letter "B" can be used in column 14 to color notes blue, and the letter "G" can be used to color notes green. The lowercase versions "r" and "g" can be used to color only the noteheads and not the stems.<br />
<br />
== Embedded options ==<br />
<br />
The <i>muse2ps</i> program can read options sent in the input data stream. Options can be embedded in the input data as single-line comments. In [[stage2]] files, single-line comments start with an at-sign (<tt>@</tt>) in the first column of the line. Following the comment marker comes an option identification string "<tt>muse2psv1</tt>", with "<tt>v1</tt>" being the option version level (currently level 1, and can be used in the future to keep options backwards and forwards compatible. Default options, listed in the previous section describing the options, can be overridden by using the default option setting method which adds two equal signs in a row, followed by any options. Multiple default option <br />
comments may occur to prevent the length of the line from getting too long (it is a good idea to limit the length of the line for full backwards compatibility with dmuse and [[stage2]] files, although the current line limit in dmuse/muse2ps is 900 characters).<br />
<br />
Option for specific music sizes can be set by placing the size option between the two equals signs in the option comment. Here is an example option comment header:<br />
<br />
@muse2psv1==z18<br />
@muse2psv1==T^Bach Chorale^u^bwv-277^C^J.S. Bach (1685-1750)^<br />
@muse2psv1=z14=v200,155,155,155j<br />
@muse2psv1=z18=v240,195,195,195j<br />
@muse2psv1=z21=v300,230,230,230j<br />
<br />
The first two lines are default option settings for all music sizes. The first line sets the default music size to 18 if no size is given on the command line to muse2ps. The second line sets the title, subtitle, and composer fields on the title page. The last three lines set the vertical spacing between staves at various music sizes; the first for size 14, then size 18, and the last line for size 21.<br />
<br />
== ps2pdf options ==<br />
<br />
The default behavior of the ps2pdf program is to assume that the input data is formatted for A4 paper. The default output size for muse2ps is US letter. In order for ps2pdf to generate output pages with the correct dimensions, add the option <tt>-sPAPERSIZE=letter</tt> as an argument to the program:<br />
ps2pdf -sPAPERSIZE=letter<br />
<br />
Another pair of useful options (not needed for output from muse2ps, but useful when adding footers at later states in data program) embed the fonts used in the file:<br />
ps2pdf -sPAPERSIZE=letter -dCompatibilityLevel=1.4 -dPDFSETTINGS=/prepress<br />
<br />
For example the Symbol font is not present on the Apple iPad PDF viewer. When using the options in this example, the Symbol font (or the portion used) would be embedded in the file and therefore viewable on an iPad.<br />
<br />
== Creating images ==<br />
<br />
Graphical images can be created in various ways. A good method is to convert PostScript output from muse2ps to a bitmap image with the unix command-line program pstopnm. For smaller examples and converting to other images formtas, Imagemagick's convert is another command-line which is useful. Both pstopnm and convert are often pre-installed on linux computers, and both are available for free on the internet. They should also work with OS X, and can be used in MS Windows using [http://www.cygwin.com cygwin].<br />
<br />
To create an image pipe the output from muse2ps into pstopnm, and convert to a bitmapped image at 300 dots per inch. Next pipe the resulting image to convert for further processing. In the following example, the image is first trimmed from a full page to just the area which contains the printed music, then the image is resized to 33% of the original size for use on the web, and saved into a PNG file.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -resize '33%' [[Media:scale.png|scale.png]]<br />
<br />
=== Transparent background ===<br />
<br />
Use the options <tt>-negate -alpha copy -negate</tt> to make the background of the image transparent so that it can be displayed on any background color. Here is the example image which was just created with the above command:<br />
<br />
[[Image:scale.png]]<br />
<br />
Notice that the background color of the image is white, which becomes noticeable when placing the image on a non-white background color. Now create an image with a transparent background:<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -negate -alpha copy -negate \<br />
-resize '33%' [[Media:scale-transparent.png|scale.png]]<br />
<center><br />
<table cellspacing=0 cellpadding=3><tr bgcolor=#ffffff><td bgcolor=#4499aa><br />
[[Image:scale-transparent.png]]<br />
</td><td width=10><br />
<td bgcolor=#ffaa44>[[Image:scale-transparent.png]]<br />
</td></tr></table></center><br />
<br />
<br />
=== Images for printed publications ===<br />
<br />
To insert musical examples in a Microsoft or similar word processing program, do not resize the image, but leave it at the 300 dots per inch size of the original. Then you can rescale the image in the word processor as necessary. This will optimize the quality of the image in the final printout from the word processor.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim [[Media:scale-large.png|scale.png]]<br />
<br />
== Humdrum interface ==<br />
<br />
The muse2ps program can be used in conjunction with the [http://extra.humdrum.org/man/hum2muse hum2muse] program. Here is an example of how to create graphical music notation using the following Humdrum data as an example:<br />
<br />
<table cellspacing=0><tr bgcolor=white valign=top><td><htmlet>beethoven-kern</htmlet></td><br />
<td width=10></td><br />
<td> <br />
<pre><br />
hum2muse file.krn | muse2ps \<br />
| ps2pdf - - > file.png<br />
</pre><br />
[[Image:beethoven-kern.png]] <br />
<br><br />
<br><br />
<br><br />
</td><br />
</tr><br />
</table><br />
<br />
Images can be generated from Humdrum data online by pasting/typing data into the [http://kern.humdrum.org/cgi-bin/kern/kseditor Humdrum online editor]. For example, copy and paste the above Humdrum data into the left black box on the Humdrum online editor page, and the click on the red "Generate" button to produce an image of the graphical music using the default settings.<br />
<br />
Here is the intermediate MuseData which is passed between [http://extra.humdrum.org/man/hum2muse hum2muse] and muse2ps: [[Media:beethoven-kern.md2 | beethoven.md2]]. Try copying / pasting<br />
this data into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in the same music notation as seen above.<br />
<br />
== Zbex programs ==<br />
<br />
In the muse2ps source code directory, the sub-directory <tt>zprogs</tt> contains the [[zbex]] programs used to generate the file zfun32.c. Most necessary files needed to create [http://www.ccarh.org/software/muse2ps/muse2ps/zfun32.c zfun32.c] are in that directory, but perhaps not all of them. These programs are not used directly by muse2ps, but are compiled into zbex executable code within zfun32.c. The muse2ps is essentially a non-interactive version of [[dmuse]] (see http://dmuse.ccarh.org). The [[dmuse]] program is a text editor which also has a built-in [[zbex]] language interpreter and graphical music display capabilities. The interpreter portion of [[dmuse]] has been extracted for non-interactive use in muse2ps.<br />
<br />
== Examples == <br />
<br />
Further examples of MuseData [[stage2]] files converted into graphical music notation with muse2ps can be found on the [[MuseData examples]] page.<br />
<br />
== Feature requests and bug reports ==<br />
<br />
See the page: [[Muse2ps feature requests and bug reports]].</div>Edchttps://wiki.ccarh.org/index.php?title=Muse2ps&diff=10498Muse2ps2021-03-30T14:27:34Z<p>Edc: /* Using multiple options */</p>
<hr />
<div>__TOC__<br />
<br />
== Overview == <br />
<br />
The <b>muse2ps</b> program is a command-line version of the [[autoset]], [[mskpage]] and [[pspage]] programs which are usually run within the [[dmuse]] editor using the built-in [[zbex language]] interpreter. The ''muse2ps'' program reads MuseData [[stage2]] data or [[page file]] data from standard input and converts them into PostScript data representing graphical musical notation which is sent to standard output. The following diagram illustrates the flow of data through ''muse2ps'':<br />
<br />
<br />
<center><br />
[[File:muse2ps-dataflow.svg]]<br />
</center><br />
<br />
The ''muse2ps'' program can accept two forms of input. By default, the ''muse2ps'' program will read multi-file [[stage2]] data from standard input. MuseData [[stage2]] files contain primarily symbolic musical data with possibly a little bit of formatting information (such as system and page breaks). The ''muse2ps'' program will format this symbolic music internally into [[page files]] which give explicit information about the placement of notes, slurs, beams, dynamics, lyrics, ''etc.'' on each page of music.<br />
<br />
Alternatively, if the <tt>=p</tt> option is given as an [[argument]] to ''muse2ps'', the program can read multi-file [[page files]] directly from standard input. Typically, [[stage2]] files are converted automatically into [[pages files]] and then further processing is done on these [[page files]] in order to produce a final typeset score of the graphical music notation. For example, the [[vskpage]] is used to refine the vertical spacing of staves and systems on a page of music within [[page files]], and [[eskpage]] is used to interactively edit the position of graphical elements within [[page files]].<br />
<br />
The only output from ''muse2ps'' (besides error messages) is PostScript data which describes the graphical music notation in a printable score of the music. This data can be further processed, such as sending directly to a PostScript printer, or converting into PDF files for web distrubution of the notated music. The representation of music notation within the PostScript file is in the form of bit-mapped musical fonts. The musical fonts are designed for use with 300 DPI resolution printers when printed at the native resolution (originally these fonts were designed for [http://en.wikipedia.org/wiki/Printer_Command_Language PCL-based printers]). These fonts have the unique feature of [http://en.wikipedia.org/wiki/Dither dithered] edges on sloped beams to minimize the visual effect of pixel stepping at 300 DPI resolution. Minor notation editing can be done on the PostScript/PDF files in programs such as Adobe Illustrator. If you print via PDF files, you may want to uncheck the page-scaling option in the printing program in order to avoid aliasing artifacts in the hard copy due to changing the intended size of the music on the page. <br />
<br />
Two other forms of data can be embedded within the PostScript output. If the <tt>=M</tt> option is given as an [[argument]] to the ''muse2ps'' program, then the original [[stage2]] data will be stored within comments in the PostScript data. Likewise, if the <tt>=P</tt> option is given, the [[page file]] data will be included in the PostScript output as comments. The [[page file]] data will either come from automatic generation using [[autoset]]/[[mskpage]], or from standard input if you use the <tt>=p</tt> option.<br />
<br />
There are also numerous options which primarily deal with the formatting of [[stage2]] files with the [[autoset]] and [[mskpage]] program components. See the [[#Options| options]] section below for a complete list of the options.<br />
<br />
== Download ==<br />
<br />
The ''muse2ps'' program executables for various operating systems or the source code can be downloaded from the following table. <b>Instructions for setting up the program for use can be found ''[[Muse2ps_installation_instructions| here]]''.</b><br />
<br />
<br />
<center><br />
{{muse2psdownloadtable}}<br />
</center><br />
<br />
== Online ==<br />
<br />
The ''muse2ps'' program can be run online at http://www.musedata.org/mdconverter . If you click on [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icons next to data found on the http://www.musedata.org website, the musical data will be loaded into this online converter from which PostScript, PDF, or PNG images of the music can be generated. <br />
<br />
For example, click on the [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icon on the information page for this [http://www.musedata.org/encodings/bach/bg/chorals/0428/ Bach chorale], then click on the {{keypress|Submit}} button on the converter page to generate a PDF file of the chorale with the default settings. Then try setting some options, such as using "<tt>[(.)(.)(.)(.)]</tt>" for the <b>System spine</b> option to prevent barlines from being drawn between staves in the score.<br />
<br />
You can create your own MuseData content and print with the online converter as well. Copy and paste the following MuseData content: [[Media:beethoven-kern.md2 | beethoven.md2]] into into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in this graphical music notation:<br />
<center><br />
[[Image:beethoven-kern.png]]<br />
</center><br />
<br />
== Command-line examples ==<br />
<br />
The simplest use of ''muse2ps'' is to send it MuseData [[stage2]] files as standard input, and save standard output from the program into a PostScript file:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps > [[Media:bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
<br />
You may need to use "<tt>./muse2ps</tt>" instead of "<tt>muse2ps</tt>" in the above command if the ''muse2ps'' program file is in the current directory, but the current directory is not in your [http://en.wikipedia.org/wiki/PATH_%28variable%29 command search path]. The PostScript output can then be further processed in an external program. Usually it is more convenient to work with the data as a PDF file. The process of converting PostScript to PDF can be done by many methods. For example, Acrobat Distiller or Acrobat Professional will convert PostScript files into PDF files. There are online converters, such as this one: http://www.ps2pdf.com/convert.htm . And on most linux computers you can convert PostScript into PDF files using the [http://pages.cs.wisc.edu/~ghost/doc/gnu/5.50/Ps2pdf.htm ps2pdf] command:<br />
ps2pdf [[Media:Bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
This will create the file [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]] (replacing the .ps extension with a .pdf extention automatically when saving the PDF file). If you click on the PDF file link in the previous sentence, you should see the musical notation for J.S. Bach's Well-Tempered Clavier, Book I, Prelude 1 in C major.<br />
<br />
An alternate method of using ps2pdf to generate a PDF file in a single step in conjunction with ''muse2ps'' would be with this command-line construction:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps | ps2pdf - > [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]]<br />
<br />
=== Last system justification ===<br />
<br />
By default ''muse2ps'' does not right-justify the last system of the music on the last page of the output (as can be seen in [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]]). If you<br />
want to justify the last system, use the <tt>=j</tt> option as an argument to ''muse2ps'':<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =j | ps2pdf - > [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]<br />
The ''muse2ps'' (or more precisely, the internal [[mskpage]] component) will possibly adjust line breaks on one or more of the previous systems in the score in order to fill enough music onto the last system, and then stretch or contract the music on the last system to fit the width between margins exactly. The <tt>=j</tt> option can potentially take significantly more time to process the input data than when it is omitted. The reason for the increased processing time can be seen by comparing [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]] and [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]. In order to right-justify the last system of the music, all systems in the music were recursively re-typeset so that the first system in the music contains only three measures instead of four.<br />
<br />
=== Grand-Staff vertical spacing ===<br />
<br />
The distance between staves in the grand staff (which is used for instruments such as the piano) can be controlled by the =g option. An integer number follows after the letter "g" in the option which specifies the distance between the two staves in terms of 1/10ths of the distance between staff lines. The default value for this option is =g100 which means that the distance between the top line of each staff is 10 staff lines.<br />
<br />
Here is an example of reducing the spacing between the staves to nothing. The =g50 option in this case means that the distance between the top of each staff is 5 staff lines. And since this is the height of a single staff, there will be no space between the two staves:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =g50 | ps2pdf - > [[Media:bach-wtc1p01-g50.pdf|bach-wtc1p01-g50.pdf]]<br />
<br />
<br />
=== Single-staff spacing in a system ===<br />
<br />
A ''system'' is a collection of staves which represent different instruments playing at the same time. The distance between these staves can be controlled with the =v option. Following =v is a list of comma-separated integers (with no intervening spaces). The unit for these numbers is the same as in the =g option: 1/10th of the distance between successive staff lines.<br />
<br />
The default spacing between staves will depend on whether they are supposed to be barred together or not. Here is the default spacing for four staves of a string quartet:<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
=== Using multiple options ===<br />
<br />
In the previous examples, the prelude is printed on two pages, with a single orphan system occurring on the second page. One way to force the music to fit onto a single page is to set the top margin from 120 pixels to 0 pixels with the option <tt>=t0</tt> and the printable length on the page to 3000 pixels (10 inches) with the option <tt>=l3000</tt>. When supplying multiple optional settings to muse2ps, there is only one option string which starts with the equals character (<tt>=</tt>) and is followed by all options with no spaces. Here is an example of using the <tt>=t0</tt>, <tt>=l3000</tt> and <tt>=j</tt> options at the same time, resulting in a single page of music:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =jt0l3000 | ps2pdf - > [[Media:bach-wtc1p01-jt0l3000.pdf|bach-wtc1p01-jt0l3000.pdf]]<br />
The order of the options in the option string is not important, so for example, "<tt>=l3000t0j</tt>" would yield the same results as "<tt>=jt0l3000</tt>".<br />
<br />
Instead of adjusting the vertical margins with the <tt>=t</tt> and <tt>=l</tt> options, you can also decrease the spacing between staves globally on the system. To do this, use the =v option followed by a list of distances between each staff on the system. In this example there are two staves in each system, so one value is expected after "=v". If there were three or more staves, then the vertical spacing values are separated by commas (and no spaces).<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =v160jt300 | ps2pdf - > [[Media:bach-wtc1p01-v160jt300.pdf|bach-wtc1p01-v160jt300.pdf]]<br />
<br />
In the above example, "<tt>=v160</tt>" means make the spacing between staves on the system slightly more than 1/2 an inch; "<tt>=j</tt>" means to right-justify the last system of music; and "<tt>t300</tt>" means add an extra inch to the top margin (the default setting is "<tt>=t120</tt>".<br />
<br />
=== Music size ===<br />
<br />
The ''muse2ps'' program can typeset music in several sizes: 6, 14, 16, 18 and 21. These numbers refer to the pixel count (at 300 DPI) between successive staff lines. For example, here is a zoom-in of music typeset using the size 6 font, where each staff line is one pixel wide, and there are 5 pixels in the gap between lines, making each staff line spaced every 6 pixels and hence the name "size 6":<br />
<br />
<center><br />
[[File:Dmuse-size6.png|411px]]<br />
</center><br />
<br />
<br />
The default size that ''muse2ps'' will typeset music in is size 14. To display the music at other sizes, use the <tt>=z</tt> option followed by the size. Here is the example prelude printed in all sizes (with right-justification of the last system using <tt>=j</tt> also added to the option string):<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z6j&nbsp;&nbsp;| ps2pdf - > [[Media:bach-wtc1p01-z6j.pdf|bach-wtc1p01-z6j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z14j | ps2pdf - > [[Media:bach-wtc1p01-z14j.pdf|bach-wtc1p01-z14j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z16j | ps2pdf - > [[Media:bach-wtc1p01-z16j.pdf|bach-wtc1p01-z16j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z18j | ps2pdf - > [[Media:bach-wtc1p01-z18j.pdf|bach-wtc1p01-z18j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z21j | ps2pdf - > [[Media:bach-wtc1p01-z21j.pdf|bach-wtc1p01-z21j.pdf]]<br />
<br />
Full-scores are typically printed at size 14 (particularly scores with many parts). Parts for performers are typically printed at sizes 18 or 21. Piano music is typically printed at size 16, and Size 18 has dither on two-pixel wide staff lines. The approximate equivalents to point sizes in regular text (multiplying by the factor 72/300 and then multiplying by 3):<br />
<br />
<center><br />
{| class="wikitable" cellpadding="0" cellspacing="0" border="0"<br />
|- |- {{Style|table header}}<br />
! scope="col" align="left" | MuseData music size<br />
! scope="col" align="left" | Staff height (mm)<br />
! score="col" align="left" | Approximate text font size<br />
! score="col" align="left" | Musical application<br />
|-<br />
| 6 || 2.03 mm || 4 pt || none<br />
|-<br />
| 14 || 4.74 mm || 10 pt || full scores<br />
|-<br />
| 16 || 5.42 mm || 11.5 pt || piano music, vocal scores<br />
|-<br />
| 18 || 6.10 mm || 13 pt || instrumental parts<br />
|-<br />
| 21 || 7.11 mm || 15 pt || large-size instrumental parts<br />
|}<br />
</center><br />
<br />
=== Extracting MPG intermediate data ===<br />
<br />
When a MuseData [[stage2]] file is converted into graphical music notation as PostScript output from ''muse2ps'', it will pass through two data transformation steps. The first step is a conversion from [[stage2]] data into non-page-specific [[i-files]] which is accomplished with the [[autoset]] component. Then these "non-page-specific" [[i-files]] are converted into "page-specific" [[page files|i-files]] (or Music Page (MPG) files) which describe the precise position of musical elements on each page of typeset music. This [[music page]] data can be extracted from the program surreptitiously by using the "=P" option. This will cause the [[MPG]] data to be embedded in comments within the PostScript output. Each page of MPG data will be stored in a sequence of comments starting with "<tt>%=BeginMPGData: 1</tt>", where <tt>1</tt> is the data for page one. And each page of MPG data is ended by the comment <tt>"%=EndMPGData: 1"</tt>.<br />
<br />
All MuseData/dmuse related comments in the PostScript output start with the comment marker "%=", so the MPG data can easily be separated from the PostScript content and other irrelevant comments in a manner such as this:<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =P | grep "^%=" > [[Media:Mpg-comments.txt|mpg-comments.txt]]<br />
The [[regular expression]] search string "<tt>^%=</tt>" used in the [http://en.wikipedia.org/wiki/Grep grep] command means extract lines from the input which start with the two characters "<tt>%=</tt>".<br />
<br />
A PERL utility program, called [[Media:unpackmpg.pl|unpackmpg]], for extracting the MPG data from the comments is included with the source code for ''muse2ps'':<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =Pg85jt200l3000 | [[Media:unpackmpg.pl|unpackmpg]] > [[Media:Mpg-comments.mpg|mpg-comments.mpg]]<br />
In the above command the options mean:<br />
* <tt>=P</tt>: Output [[music page]] data<br />
* <tt>=g85</tt>: Set the distance between the staves in the grand staff to 8.5 staff lines (default is 100, or 10 staff lines).<br />
* <tt>=j</tt>: Right-justify the last system of the music.<br />
* <tt>=t200</tt>: Set the top margin to 2/3 of a inch below the base position.<br />
* <tt>=l3000</tt>: Set the vertical printable region to 10 inches.<br />
<br />
=== Inputting MPG data (adding a title) ===<br />
<br />
The extracted [[music page]] data from the previous section can be edited (such as to add a title) and then can be reprocessed by ''muse2ps'' to generate PostScript output:<br />
cat [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] | muse2ps =p | ps2pdf - > [[Media:Bach-wtc1p01-title.pdf|bach-wtc1p01-title.pdf]]<br />
<br />
In this case the file [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] is the equivalent to the MPG data generated by ''muse2ps'' in the previous section: [[Media:Mpg-comments.mpg|mpg-comments.mpg]], but with these three lines added to generate a title for the first page:<br />
<br />
<pre><br />
X 14<br />
X 46 1200C 0 Well-tempered Clavier, Book I, prelude 1 in C major<br />
X 37 1200C 50 BWV 846<br />
</pre><br />
<br />
The first line sets the font indexes relative to music size 14. The second line places the line at "1200C 0" which means center the line horizontally at location 1200 (4 inches from the left margin), and position the line vertically at position 0 (0 inches below the top margin).<br />
<br />
[[Music page]] data for many of the score on http://www.musedata.org are available as both [[stage2]] files and [[music page]] files. Using the [[music page]] files as input to ''muse2ps'' will generate better graphical notation results, since the automatically typeset data from the [[stage2]] files has been proofread and adjusted by a human.<br />
<br />
== Options ==<br />
<br />
Below is a list of the options which muse2ps understands. Options are given<br />
as the first (and only) argument to the program, staring with an equals sign (=), then followed by the options in any order, with no spaces between the options. For example, to set the music size to 18 and right-justify the last system on the last page, use the option string =z21j:<br />
cat file.md2 | muse2ps =z21j > file.ps<br />
When using characters which my be parsed by the command-line interpreter, you will have to enclose the option string in single quotes (you can do this all of the time if you are uncertain of the conditions in which they would be required):<br />
cat file.md2 | muse2ps '=z21js^{(..}}^T^title^' | ps2pdf - > file.pdf<br />
<br />
In option strings such as "=c<#>", replace <#> with an integer. <tt>[#]</tt> indicates an optional number.<br />
<br />
{|class="wikitable" cellpadding="0" cellspacing="0" border="0" style="width:100%"<br />
|- {{Style|table header}}<br />
! scope="col" width="100px" align="center"| muse2ps option index<br />
|-<br />
| <div style="column-count:3;-moz-column-count:3;-webkit-column-count:3"><br />
* {{nowrap|{{mopt|c}} compression}}<br />
* {{nowrap|{{mopt|C}} composer}}<br />
* {{nowrap|{{mopt|d}} diagnostics}}<br />
* {{nowrap|{{mopt|D}} dash spacing}}<br />
* {{nowrap|{{mopt|E}} eof insertion}}<br />
* {{nowrap|{{mopt|f}} fill by staff}}<br />
* {{nowrap|{{mopt|F}} fill by system}}<br />
* {{nowrap|{{mopt|g}} grand staff spacing}}<br />
* {{nowrap|{{mopt|G}} group selection}}<br />
* {{nowrap|{{mopt|h}} note space}}<br />
* {{nowrap|{{mopt|i}} indentation flag}}<br />
* {{nowrap|{{mopt|I}} indentation amount}}<br />
* {{nowrap|{{mopt|j}} justification}}<br />
* {{nowrap|{{mopt|k}} display options}}<br />
* {{nowrap|{{mopt|l}} page length}}<br />
* {{nowrap|{{mopt|m}} left margin}}<br />
* {{nowrap|{{mopt|M}} embed stage2 data}}<br />
* {{nowrap|{{mopt|n}} number of systems}}<br />
* {{nowrap|{{mopt|p}} page files input}}<br />
* {{nowrap|{{mopt|P}} embed page files}}<br />
* {{nowrap|{{mopt|Q}} min. dist. dur.}}<br />
* {{nowrap|{{mopt|s}} system spine}}<br />
* {{nowrap|{{mopt|S}} title/system space}}<br />
* {{nowrap|{{mopt|t}} top margin}}<br />
* {{nowrap|{{mopt|T}} title}}<br />
* {{nowrap|{{mopt|u}} subtitle}}<br />
* {{nowrap|{{mopt|v}} staff spacing}}<br />
* {{nowrap|{{mopt|w}} system width}}<br />
* {{nowrap|{{mopt|W}} thin barlines}}<br />
* {{nowrap|{{mopt|x}} no suggestions}}<br />
* {{nowrap|{{mopt|X}} no last barline}}<br />
* {{nowrap|{{mopt|y}} no line controls}}<br />
* {{nowrap|{{mopt|Y}} no initial time sig.}}<br />
* {{nowrap|{{mopt|z}} music size}}<br />
</div><br />
|}<br />
<br><br />
<br />
See also the Dmuse text file [[Media:muse2ps-options.dm | options.dm]], or the HTML equivalent [[Media:muse2ps-options.html| options.html]] for a brief description of each option.<br />
<br />
{| style="background-color:white" cellpadding="4"<br />
|- valign="top"<br />
| {{anchor|c_option}}<b>=c</b><#>|| Compression factor: This is measured as a percentage of the default. 100 = no compression (100%). Use smaller values to decrease the spacing between notes (allowing fewer pages in the score). Values larger than 100 will expand the distance between notes (increasing the number of pages in the score). This option is useful to force the last system of music to occur at the bottom of a page.<br />
<br />
|- valign="top"<br />
|{{anchor|C_option}}<b>=C</b>^string^ || Display the ''string'' as the composer's name at the top right side of the first page. See <b>=T</b> for the title, and <b>=u</b> for the sub-title. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|d_option}}<b>=d</b><#> || Diagnostics and Error Messages.<br />
bit 0 of #: ON = print error messages<br />
bit 1 of #: ON = print all diagnostics<br />
bit 2 of #: ON = print diagnostics from autoset<br />
bit 3 of #: ON = print diagnostics from mskpage<br />
bit 4 of #: ON = print diagnostics from pspage<br />
no number = 0x01: print error messages<br />
For example, =d31 turns on all error message toggles. This option is useful if the output PostScript data from muse2ps is empty. The messages go to standard error, while the PostScript data goes to standard output. Therefore, you can print the error messages and still save or pipe the PostScript data without the error messages mixing with the output data.<br />
<br />
|- valign="top"<br />
| {{anchor|D_option}}<b>=D</b> || spacing between dashes. Will over-ride spacing in stage2 files: 0 = use default, >0 = space between dashes (units are dash length)<br />
<br />
|- valign="top"<br />
| {{anchor|E_option}}<b>=E</b> || <tt>/END</tt> = <tt>/eof</tt>. The muse2ps program allows for multiple parts to be entered from standard input in a single stream of data. Normally the data files representing each part are separated from each other by a line containing only "<tt>/eof</tt>" (lowercase; meaning "End of File"). Separate MuseData [[stage2]] files do not typically end in "<tt>/eof</tt>", but rather, they are required to contain the line "<tt>/END</tt>" (uppercase) to indicate the end of the data. After "<tt>/END</tt>", any textual comments are allowed. With the =E option, you do not need to separate files by "<tt>/eof</tt>", and instead, the next file in the sequence will start on the line coming after "<tt>/END</tt>". Note, however, that you cannot use the =E option if there is any commentary after "<tt>/END</tt>" in a file.<br />
<br />
|- valign="top"<br />
| {{anchor|f_option}}<b>=f</b> || Fill pages to the bottom by proportionally stretching all spacings. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|F_option}}<b>=F</b> || Fill pages to the bottom by adding to the intersystem space only. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|g_option}}<b>=g</b><#>|| Grand staff intra-space measured in multiples of ledger lines times 10. The default is 100, which is 10 ledger lines. Note that this distance reference is different from the =v values which define the distance from the top of one staff to the top of the next staff. For the =g, option, the distance is from the bottom of the top staff to the top of the bottom staff.<br />
<br />
|- valign="top"<br />
| {{anchor|G_option}}<b>=G</b>^group-name^ || Group name to process. The default is "score". Available groups are found on data line 11 at the top of each MuseData [[stage2]] file (excluding any single- or multi-line comments). Other possibilities might be "part" or "data".<br />
<br />
|- valign="top"<br />
| {{anchor|h_option}}<b>=h</b><#> || Alter the minimum allowed space between notes. This is measured as a percentage of the default. 100 = no change (100%).<br />
<br />
|- valign="top"<br />
|{{anchor|i_option}}<b>=i</b><#> || Initial system indentation options flag.<br />
* 0 = use program defaults (set indentation with <tt>=I</tt> option).<br />
* 1 = no indentation of first system of music<br />
* 2 = indent first system, and after every forced system break.<br />
<br />
|- valign="top"<br />
| {{anchor|I_option}}<b>=I</b><#> || Specify the indentation amount for the first system in the music. If zero, then default indentation amount will be used. (see the <tt>=i</tt> option for turning off indentation).<br />
<br />
|- valign="top"<br />
|{{anchor|j_option}}<b>=j</b> || Right-justify the last system of the music so that it extends all of the way across the page. The default is NOT to right justify. Right-justification is a recursive process where measures from previous systems may be moved ahead in the score to cause all systems to have approximately the same note density.<br />
<br />
|- valign="top"<br />
| {{anchor|k_option}}<b>=k</b>^0x<tt>#</tt>^ || Display alternative options. Options are stored in a hexadecimal number prefixed with the string "<tt>0x</tt>" (C program-styled hex number). The default values are the 0 bit settings. The meaning of the bits in the hexadecimal number are (from least significant to most significant bit):<br />
<br />
<table cellpadding=0 cellspacing=0><br />
<tr valign=baseline><th>bit</th><td width=10></td><th>meaning</th></tr><br />
<br />
<tr valign=baseline><td>0</td><td></td><td><br />
<b>k-option activation flag</b><br />
* 1: <i>k</i> option is active, read options in more significant bits.<br />
* 0: <i>k</i> option is inactive. Used to turn off this option as a command-line over-ride.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>1</td><td></td><td><br />
<b>Sforzando/rfz flag</b><br />
* 0: display sforzando as sf (rf)<br />
* 1: display sforzando as sfz (rfz)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>2</td><td></td><td><br />
<b>Sub-edit flag</b><br />
* 0: diplay editorial markup differently from regular data (such as adding brackets around editorial elements).<br />
* 1: do not display editorial data differently from regular data.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>3</td><td></td><td><br />
<b>No-editorial flag</b><br />
* 0: display editorial markup data.<br />
* 1: do not display editorial markup data.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>4</td><td></td><td><br />
<b> Editorial markup in Roman font flag</b><br />
* 0: use cue-size music fonts for editorial marks.<br />
* 1: use Times-Roan font for editorial marks: tr, dynamics<br />
</td></tr><br />
<br />
<tr valign=baseline><td>5</td><td></td><td><br />
<b>Ligature flag</b><br />
* 0: do not use ligatures in text.<br />
* 1: use ligatures for "ffl", "ffi", "ff", "fl", and "fi".<br />
</td></tr><br />
<br />
<tr valign=baseline><td>6</td><td></td><td><br />
<b>figured harmony flag</b><br />
* 0: place figured harmony (figured bass) below the staff.<br />
* 1: place figured harmony (figured bass) above the staff.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>7</td><td></td><td><br />
<b> mheavy4 barline style flag</b><br />
* 0: mheavy4 barline represented by two heavy lines.<br />
* 1: mheavy4 barline represented by one thin, one thick, and then another thin line.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>8</td><td></td><td><br />
<b>Multi-voice augmentation dot option</b><br />
* 0: allow overstrike of dots in different voices.<br />
* 1: do now allow overstrike<br />
</td></tr><br />
<br />
<tr valign=baseline><td>9</td><td></td><td><br />
<b>New key signatures option</b><br />
* 0: don't print a new key signature if it is the same as the previous one on the staff.<br />
* 1: print a new key signature even if it repeats the previous key signature on the staff.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>10</td><td></td><td><br />
<b>Mixed rhythm chords</b><br />
* 0: Don't allow a mixture of white and black notes in chords.<br />
* 1: Allow mixture of white and black notes in chords.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>11</td><td></td><td><br />
<b>Suppress key signature flag </b><br />
* 0: display key signatures<br />
* 1: suppress printing of the key signature (such as for timpani parts).<br />
</td></tr><br />
<br />
<tr valign=baseline><td>12</td><td></td><td><br />
<b>Editorial slurs flag</b><br />
* 0: all slurs are regular.<br />
* 1: <tt>{ }</tt> amd <tt>z x</tt> slurs are editorial slurs (dashed slurs).<br />
</td></tr><br />
<br />
<tr valign=baseline><td>13</td><td></td><td><br />
<b>New clef sign flag </b><br />
* 0: Large clefs at start of system, cue-size clefs for clef changes.<br />
* 1: Always use large clefs.<br />
</td></tr><br />
<br />
</table><br />
<br />
|- valign="top"<br />
| {{anchor|l_option}}<b>=l</b><#>|| Length of a page. Distance is measured dots, at 300 dots to the inch. Default is 2740 dots. The default starting height is 120 dots. This will not be lowered, but may be raised to accommodate a longer page.<br />
<br />
|- valign="top"<br />
| {{anchor|m_option}}<b>=m</b><#> || Left margin, measured in at 300 dots/inch. The default is 200 dots<br />
<br />
|- valign="top"<br />
| {{anchor|M_option}}<b>=M</b> || include the contents of the MuseData source files in the Trailer section of the file embedded in PostScript comments (if MuseData [[stage2]] files are used as input.<br />
<br />
|- valign="top"<br />
| {{anchor|n_option}}<b>=n</b><#> || Maximum number of systems on a page. The default is no maximum.<br />
<br />
|- valign="top"<br />
| {{anchor|p_option}}<b>=p</b> || The source is a concatenated set of page specific i-files (also called .mpg files), not a set of MuseData files.<br />
<br />
|- valign="top"<br />
| {{anchor|P_option}}<b>=P</b> || include listings of the page specific i-files, which are the source of the output PostScript data. Each page is separated<br />
<br />
|- valign="top"<br />
| {{anchor|Q_option}}<b>=Q</b><#> || Duration which is assigned the minimum distance<br />
1 = whole notes<br />
... . . .<br />
8 = eighth notes<br />
16 = sixteenth notes, etc<br />
<br />
|- valign="top"<br />
| {{anchor|s_option}}<b>=s</b>^string^ || Custom left-hand spine. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=s^[(....)][(..)](.)[({..}..)]^<br />
Each dot in the system bracketing string represents one part, with the first dot in the string representing the top staff of the system. If a grand-staff is used for any part, then use the colon character (:) for that part. Staves which should be bracketed together are enclosed in square brackets: <tt>[]</tt>. Staves which should be braced together are enclosed in curly braces: <tt>{}</tt>. Staves which should be barred together (barlines connecting between staves) are enclosed in parentheses: <tt>()</tt>. The caret character (^) is used to mark the start and top of the option string. Subsequent options occur immediately after the second caret character with no intervening space.<br />
<br />
|- valign="top"<br />
| {{anchor|S_option}}<b>=S</b><#> || Add extra space between the title and the first system of music: 0 = use default, >0 = lower the first system (units are 1/300th of an inch).<br />
<br />
|- valign="top"<br />
|{{anchor|t_option}}<b>=t</b><#> || Top of page. Default is 120 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|T_option}}<b>=T</b>^string^ || Display the ''string'' as a title at the top of the (first) page. See <b>=u</b> for sub-title, and <b>=C</b> for composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|u_option}}<b>=u</b>^string^ || Display the ''string'' as a sub-title at the top of the (first) page. See <b>=T</b> for the title, and <b>=C</b> for the composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|v_option}}<b>=v</b><#,#,#...#> || Custom spacings. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=v192,192,192,208,192,208,176,176,176,200<br />
The above example setting for the =v option can be used for a system with 8 parts (such as 4 woodwinds, 2 horns, and 4 string instruments). The first seven values describe the spacing between each staff in the system, and the last value is the spacing between systems on the page. The spacing between staves and systems is constant with muse2ps. The spacing values are 1/10th of the distance between two staff lines, and the spacing value is the distance from the top of one staff to the top of the next staff (or the top of the last staff on a system to the top of the staff on the next system for the last value in the list). See the <tt>=g</tt> option for spacing the staves of a grand staff (such as for piano music). When a grand staff is part of a system with more parts, then the distance between the grand staff and the next system is the distance between the top of the bottom staff of the grand-staff pair and the top of the next staff.<br />
<br />
|- valign="top"<br />
| {{anchor|w_option}}<b>=w</b><#> || System width, measured in at 300 dots/inch. The default is 2050 dots<br />
<br />
|- valign="top"<br />
| {{anchor|W_option}}<b>=W</b>[#] || Thin barline flag. 0 = use regular barlines. 1 = use thin barlines. No number after <tt>=W</tt> means the same as <tt>=W0</tt>.<br />
<br />
|- valign="top"<br />
| {{anchor|x_option}}<b>=x</b> || Defeat all part inclusion suggestions in the data<br />
<br />
|- valign="top"<br />
| {{anchor|X_option}}<b>=X</b>[#] || Leave off the last barline (for short examples). 0 = print last bar, 1 = don't print last bar, <tt>=X</tt> without a number is equivalent to <tt>=X1</tt>. Note: you can add extra staff line space in the last bar by putting in <tt>irest</tt>s, but you must put <tt>irest</tt>s in all parts ,and they must all represent the same note type (duration). Note also: If the last bar line is anything but a regular measure line, it will continue to print.<br />
<br />
|- valign="top"<br />
|{{anchor|y_option}}<b>=y</b> || Defeat all line control suggestions in the data<br />
<br />
|- valign="top"<br />
|{{anchor|Y_option}}<b>=Y</b><#> || Suppress printing first time signature in score. Used for printing small examples which have a time signature in the data, but none desired in graphical notation. You can also use a time signature in the data of "<tt>T:9/0</tt>" to generate a <i>hidden</i> time signature, and not giving a time signature at the start of a file will result in not time signature being printed. 0 = print initial time signatures (used to override options embedded in data). 1 = suppress first time signature (<tt>=Y</tt> is equivalent to <tt>=Y1</tt>).<br />
<br />
|- valign="top"<br />
| {{anchor|z_option}}<b>=z</b><#> || Music size: choices are 6,14,16,18,21. 14 is the default. This value describes the distance between staff lines in units of 300 dots per inch.<br />
<br />
|}<br />
<br />
== Multi-file input specification ==<br />
<br />
Normally individual MuseData [[stage2]] files contain a single part. These part files are concatenated together and sent via standard input into the muse2ps program. In order for the muse2ps program to be able to segment the separate part files from the original stream the marked "<tt>/eof</tt>" is added after the last line in each file, and the marker "<tt>//</tt>" is ''required'' after the end of all datafile input into muse2ps. <br />
<br />
Typically the last line of a [[stage2]] MuseData file consists of the string "<tt>/END</tt>" (in uppercase), so add the line "<tt>/eof</tt>" (in lowercase) after it: <br />
/END<br />
/eof<br />
<br />
The very last three lines of input to muse2ps should should look like this:<br />
<br />
/END<br />
/eof<br />
//<br />
<br />
If you specify the =E option when running muse2ps, the "<tt>/END</tt>" markers will be used to segment the separate part files internally.<br />
<br />
The PERL script [[Media:collatemd2.pl|collatemd2]] (included with the source code to muse2ps) can be used to concatenate multiple [[stage2]] part files into a single input stream for muse2ps. The output of the PERL script can be saved to a file for later processing with muse2ps. In this case the recommended file extension for the multi-file MuseData content is <b>.md2</b> . Here are example uses of [[Media:collatemd2.pl|collatemd2]]:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
You many have to type "<tt>./collatemd2</tt>" instead of "<tt>collatemd2</tt>" if the perl program is in the current directory and the current directory is not in the command search path. If you download the program from this page, remove the .pl extension when saving (and use a lower-case first letter for the filename). You may have to set the permissions to allow it to be run as a program with the unix command: <tt>chmod 0755 collatemd2</tt>.<br />
<br />
Alternatively, you can save the output from [[Media:collatemd2.pl|collatemd2]] into a file for later use with muse2ps:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] > [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]]<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
When downloading MuseData [[stage2]] files from http://www.musedata.org , the parts are all combined into a single multi-file MuseData file which is the equivalent to the output from [[Media:collatemd2.pl|collatemd2]].<br />
<br />
=== Multiple Music Page files ===<br />
<br />
When concatenating multiple Music Page (MPG) files, separate each file's content with a line with the single capital letter "P" on it. Example of how to do this on the command line, creating a PDF file:<br />
<br />
<source lang="bash"><br />
for i in ??<br />
do<br />
cat $i<br />
echo P<br />
done | muse2ps =p | ps2pdf - - > output.pdf<br />
</source><br />
<br />
N.B.: Probably two slashes also need to be added at the end of the last page; otherwise, it will not print:<br />
<br />
//<br />
<br />
== Color highlighting ==<br />
<br />
A soon-to-be released update of muse2ps will allow for coloring of notes in the score. This colorization can be used in conjunction with displaying search results, or highlighting notes in an example. <br />
<br />
If you place an "R" character in column 14 for note (or rest) records, That note will be highlighted red. A capital "R" will also highlight the stem of the note, while a lower case "r" will color only the notehead. If multiple colored notes all share a common beam, then that beam is also highlighted.<br />
<br />
The letter "B" can be used in column 14 to color notes blue, and the letter "G" can be used to color notes green. The lowercase versions "r" and "g" can be used to color only the noteheads and not the stems.<br />
<br />
== Embedded options ==<br />
<br />
The <i>muse2ps</i> program can read options sent in the input data stream. Options can be embedded in the input data as single-line comments. In [[stage2]] files, single-line comments start with an at-sign (<tt>@</tt>) in the first column of the line. Following the comment marker comes an option identification string "<tt>muse2psv1</tt>", with "<tt>v1</tt>" being the option version level (currently level 1, and can be used in the future to keep options backwards and forwards compatible. Default options, listed in the previous section describing the options, can be overridden by using the default option setting method which adds two equal signs in a row, followed by any options. Multiple default option <br />
comments may occur to prevent the length of the line from getting too long (it is a good idea to limit the length of the line for full backwards compatibility with dmuse and [[stage2]] files, although the current line limit in dmuse/muse2ps is 900 characters).<br />
<br />
Option for specific music sizes can be set by placing the size option between the two equals signs in the option comment. Here is an example option comment header:<br />
<br />
@muse2psv1==z18<br />
@muse2psv1==T^Bach Chorale^u^bwv-277^C^J.S. Bach (1685-1750)^<br />
@muse2psv1=z14=v200,155,155,155j<br />
@muse2psv1=z18=v240,195,195,195j<br />
@muse2psv1=z21=v300,230,230,230j<br />
<br />
The first two lines are default option settings for all music sizes. The first line sets the default music size to 18 if no size is given on the command line to muse2ps. The second line sets the title, subtitle, and composer fields on the title page. The last three lines set the vertical spacing between staves at various music sizes; the first for size 14, then size 18, and the last line for size 21.<br />
<br />
== ps2pdf options ==<br />
<br />
The default behavior of the ps2pdf program is to assume that the input data is formatted for A4 paper. The default output size for muse2ps is US letter. In order for ps2pdf to generate output pages with the correct dimensions, add the option <tt>-sPAPERSIZE=letter</tt> as an argument to the program:<br />
ps2pdf -sPAPERSIZE=letter<br />
<br />
Another pair of useful options (not needed for output from muse2ps, but useful when adding footers at later states in data program) embed the fonts used in the file:<br />
ps2pdf -sPAPERSIZE=letter -dCompatibilityLevel=1.4 -dPDFSETTINGS=/prepress<br />
<br />
For example the Symbol font is not present on the Apple iPad PDF viewer. When using the options in this example, the Symbol font (or the portion used) would be embedded in the file and therefore viewable on an iPad.<br />
<br />
== Creating images ==<br />
<br />
Graphical images can be created in various ways. A good method is to convert PostScript output from muse2ps to a bitmap image with the unix command-line program pstopnm. For smaller examples and converting to other images formtas, Imagemagick's convert is another command-line which is useful. Both pstopnm and convert are often pre-installed on linux computers, and both are available for free on the internet. They should also work with OS X, and can be used in MS Windows using [http://www.cygwin.com cygwin].<br />
<br />
To create an image pipe the output from muse2ps into pstopnm, and convert to a bitmapped image at 300 dots per inch. Next pipe the resulting image to convert for further processing. In the following example, the image is first trimmed from a full page to just the area which contains the printed music, then the image is resized to 33% of the original size for use on the web, and saved into a PNG file.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -resize '33%' [[Media:scale.png|scale.png]]<br />
<br />
=== Transparent background ===<br />
<br />
Use the options <tt>-negate -alpha copy -negate</tt> to make the background of the image transparent so that it can be displayed on any background color. Here is the example image which was just created with the above command:<br />
<br />
[[Image:scale.png]]<br />
<br />
Notice that the background color of the image is white, which becomes noticeable when placing the image on a non-white background color. Now create an image with a transparent background:<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -negate -alpha copy -negate \<br />
-resize '33%' [[Media:scale-transparent.png|scale.png]]<br />
<center><br />
<table cellspacing=0 cellpadding=3><tr bgcolor=#ffffff><td bgcolor=#4499aa><br />
[[Image:scale-transparent.png]]<br />
</td><td width=10><br />
<td bgcolor=#ffaa44>[[Image:scale-transparent.png]]<br />
</td></tr></table></center><br />
<br />
<br />
=== Images for printed publications ===<br />
<br />
To insert musical examples in a Microsoft or similar word processing program, do not resize the image, but leave it at the 300 dots per inch size of the original. Then you can rescale the image in the word processor as necessary. This will optimize the quality of the image in the final printout from the word processor.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim [[Media:scale-large.png|scale.png]]<br />
<br />
== Humdrum interface ==<br />
<br />
The muse2ps program can be used in conjunction with the [http://extra.humdrum.org/man/hum2muse hum2muse] program. Here is an example of how to create graphical music notation using the following Humdrum data as an example:<br />
<br />
<table cellspacing=0><tr bgcolor=white valign=top><td><htmlet>beethoven-kern</htmlet></td><br />
<td width=10></td><br />
<td> <br />
<pre><br />
hum2muse file.krn | muse2ps \<br />
| ps2pdf - - > file.png<br />
</pre><br />
[[Image:beethoven-kern.png]] <br />
<br><br />
<br><br />
<br><br />
</td><br />
</tr><br />
</table><br />
<br />
Images can be generated from Humdrum data online by pasting/typing data into the [http://kern.humdrum.org/cgi-bin/kern/kseditor Humdrum online editor]. For example, copy and paste the above Humdrum data into the left black box on the Humdrum online editor page, and the click on the red "Generate" button to produce an image of the graphical music using the default settings.<br />
<br />
Here is the intermediate MuseData which is passed between [http://extra.humdrum.org/man/hum2muse hum2muse] and muse2ps: [[Media:beethoven-kern.md2 | beethoven.md2]]. Try copying / pasting<br />
this data into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in the same music notation as seen above.<br />
<br />
== Zbex programs ==<br />
<br />
In the muse2ps source code directory, the sub-directory <tt>zprogs</tt> contains the [[zbex]] programs used to generate the file zfun32.c. Most necessary files needed to create [http://www.ccarh.org/software/muse2ps/muse2ps/zfun32.c zfun32.c] are in that directory, but perhaps not all of them. These programs are not used directly by muse2ps, but are compiled into zbex executable code within zfun32.c. The muse2ps is essentially a non-interactive version of [[dmuse]] (see http://dmuse.ccarh.org). The [[dmuse]] program is a text editor which also has a built-in [[zbex]] language interpreter and graphical music display capabilities. The interpreter portion of [[dmuse]] has been extracted for non-interactive use in muse2ps.<br />
<br />
== Examples == <br />
<br />
Further examples of MuseData [[stage2]] files converted into graphical music notation with muse2ps can be found on the [[MuseData examples]] page.<br />
<br />
== Feature requests and bug reports ==<br />
<br />
See the page: [[Muse2ps feature requests and bug reports]].</div>Edchttps://wiki.ccarh.org/index.php?title=Muse2ps&diff=10497Muse2ps2021-03-30T14:26:38Z<p>Edc: /* Using multiple options */</p>
<hr />
<div>__TOC__<br />
<br />
== Overview == <br />
<br />
The <b>muse2ps</b> program is a command-line version of the [[autoset]], [[mskpage]] and [[pspage]] programs which are usually run within the [[dmuse]] editor using the built-in [[zbex language]] interpreter. The ''muse2ps'' program reads MuseData [[stage2]] data or [[page file]] data from standard input and converts them into PostScript data representing graphical musical notation which is sent to standard output. The following diagram illustrates the flow of data through ''muse2ps'':<br />
<br />
<br />
<center><br />
[[File:muse2ps-dataflow.svg]]<br />
</center><br />
<br />
The ''muse2ps'' program can accept two forms of input. By default, the ''muse2ps'' program will read multi-file [[stage2]] data from standard input. MuseData [[stage2]] files contain primarily symbolic musical data with possibly a little bit of formatting information (such as system and page breaks). The ''muse2ps'' program will format this symbolic music internally into [[page files]] which give explicit information about the placement of notes, slurs, beams, dynamics, lyrics, ''etc.'' on each page of music.<br />
<br />
Alternatively, if the <tt>=p</tt> option is given as an [[argument]] to ''muse2ps'', the program can read multi-file [[page files]] directly from standard input. Typically, [[stage2]] files are converted automatically into [[pages files]] and then further processing is done on these [[page files]] in order to produce a final typeset score of the graphical music notation. For example, the [[vskpage]] is used to refine the vertical spacing of staves and systems on a page of music within [[page files]], and [[eskpage]] is used to interactively edit the position of graphical elements within [[page files]].<br />
<br />
The only output from ''muse2ps'' (besides error messages) is PostScript data which describes the graphical music notation in a printable score of the music. This data can be further processed, such as sending directly to a PostScript printer, or converting into PDF files for web distrubution of the notated music. The representation of music notation within the PostScript file is in the form of bit-mapped musical fonts. The musical fonts are designed for use with 300 DPI resolution printers when printed at the native resolution (originally these fonts were designed for [http://en.wikipedia.org/wiki/Printer_Command_Language PCL-based printers]). These fonts have the unique feature of [http://en.wikipedia.org/wiki/Dither dithered] edges on sloped beams to minimize the visual effect of pixel stepping at 300 DPI resolution. Minor notation editing can be done on the PostScript/PDF files in programs such as Adobe Illustrator. If you print via PDF files, you may want to uncheck the page-scaling option in the printing program in order to avoid aliasing artifacts in the hard copy due to changing the intended size of the music on the page. <br />
<br />
Two other forms of data can be embedded within the PostScript output. If the <tt>=M</tt> option is given as an [[argument]] to the ''muse2ps'' program, then the original [[stage2]] data will be stored within comments in the PostScript data. Likewise, if the <tt>=P</tt> option is given, the [[page file]] data will be included in the PostScript output as comments. The [[page file]] data will either come from automatic generation using [[autoset]]/[[mskpage]], or from standard input if you use the <tt>=p</tt> option.<br />
<br />
There are also numerous options which primarily deal with the formatting of [[stage2]] files with the [[autoset]] and [[mskpage]] program components. See the [[#Options| options]] section below for a complete list of the options.<br />
<br />
== Download ==<br />
<br />
The ''muse2ps'' program executables for various operating systems or the source code can be downloaded from the following table. <b>Instructions for setting up the program for use can be found ''[[Muse2ps_installation_instructions| here]]''.</b><br />
<br />
<br />
<center><br />
{{muse2psdownloadtable}}<br />
</center><br />
<br />
== Online ==<br />
<br />
The ''muse2ps'' program can be run online at http://www.musedata.org/mdconverter . If you click on [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icons next to data found on the http://www.musedata.org website, the musical data will be loaded into this online converter from which PostScript, PDF, or PNG images of the music can be generated. <br />
<br />
For example, click on the [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icon on the information page for this [http://www.musedata.org/encodings/bach/bg/chorals/0428/ Bach chorale], then click on the {{keypress|Submit}} button on the converter page to generate a PDF file of the chorale with the default settings. Then try setting some options, such as using "<tt>[(.)(.)(.)(.)]</tt>" for the <b>System spine</b> option to prevent barlines from being drawn between staves in the score.<br />
<br />
You can create your own MuseData content and print with the online converter as well. Copy and paste the following MuseData content: [[Media:beethoven-kern.md2 | beethoven.md2]] into into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in this graphical music notation:<br />
<center><br />
[[Image:beethoven-kern.png]]<br />
</center><br />
<br />
== Command-line examples ==<br />
<br />
The simplest use of ''muse2ps'' is to send it MuseData [[stage2]] files as standard input, and save standard output from the program into a PostScript file:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps > [[Media:bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
<br />
You may need to use "<tt>./muse2ps</tt>" instead of "<tt>muse2ps</tt>" in the above command if the ''muse2ps'' program file is in the current directory, but the current directory is not in your [http://en.wikipedia.org/wiki/PATH_%28variable%29 command search path]. The PostScript output can then be further processed in an external program. Usually it is more convenient to work with the data as a PDF file. The process of converting PostScript to PDF can be done by many methods. For example, Acrobat Distiller or Acrobat Professional will convert PostScript files into PDF files. There are online converters, such as this one: http://www.ps2pdf.com/convert.htm . And on most linux computers you can convert PostScript into PDF files using the [http://pages.cs.wisc.edu/~ghost/doc/gnu/5.50/Ps2pdf.htm ps2pdf] command:<br />
ps2pdf [[Media:Bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
This will create the file [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]] (replacing the .ps extension with a .pdf extention automatically when saving the PDF file). If you click on the PDF file link in the previous sentence, you should see the musical notation for J.S. Bach's Well-Tempered Clavier, Book I, Prelude 1 in C major.<br />
<br />
An alternate method of using ps2pdf to generate a PDF file in a single step in conjunction with ''muse2ps'' would be with this command-line construction:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps | ps2pdf - > [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]]<br />
<br />
=== Last system justification ===<br />
<br />
By default ''muse2ps'' does not right-justify the last system of the music on the last page of the output (as can be seen in [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]]). If you<br />
want to justify the last system, use the <tt>=j</tt> option as an argument to ''muse2ps'':<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =j | ps2pdf - > [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]<br />
The ''muse2ps'' (or more precisely, the internal [[mskpage]] component) will possibly adjust line breaks on one or more of the previous systems in the score in order to fill enough music onto the last system, and then stretch or contract the music on the last system to fit the width between margins exactly. The <tt>=j</tt> option can potentially take significantly more time to process the input data than when it is omitted. The reason for the increased processing time can be seen by comparing [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]] and [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]. In order to right-justify the last system of the music, all systems in the music were recursively re-typeset so that the first system in the music contains only three measures instead of four.<br />
<br />
=== Grand-Staff vertical spacing ===<br />
<br />
The distance between staves in the grand staff (which is used for instruments such as the piano) can be controlled by the =g option. An integer number follows after the letter "g" in the option which specifies the distance between the two staves in terms of 1/10ths of the distance between staff lines. The default value for this option is =g100 which means that the distance between the top line of each staff is 10 staff lines.<br />
<br />
Here is an example of reducing the spacing between the staves to nothing. The =g50 option in this case means that the distance between the top of each staff is 5 staff lines. And since this is the height of a single staff, there will be no space between the two staves:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =g50 | ps2pdf - > [[Media:bach-wtc1p01-g50.pdf|bach-wtc1p01-g50.pdf]]<br />
<br />
<br />
=== Single-staff spacing in a system ===<br />
<br />
A ''system'' is a collection of staves which represent different instruments playing at the same time. The distance between these staves can be controlled with the =v option. Following =v is a list of comma-separated integers (with no intervening spaces). The unit for these numbers is the same as in the =g option: 1/10th of the distance between successive staff lines.<br />
<br />
The default spacing between staves will depend on whether they are supposed to be barred together or not. Here is the default spacing for four staves of a string quartet:<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
=== Using multiple options ===<br />
<br />
In the previous examples, the prelude is printed on two pages, with a single orphan system occurring on the second page. One way to force the music to fit onto a single page is to set the top margin from 120 pixels to 0 pixels with the option <tt>=t0</tt> and the printable length on the page to 3000 pixels (10 inches) with the option <tt>=l3000</tt>. When supplying multiple optional settings to muse2ps, there is only one option string which starts with the equals character (<tt>=</tt>) and is followed by all options with no spaces. Here is an example of using the <tt>=t0</tt>, <tt>=l3000</tt> and <tt>=j</tt> options at the same time, resulting in a single page of music:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =jt0l3000 | ps2pdf - > [[Media:bach-wtc1p01-jt0l3000.pdf|bach-wtc1p01-jt0l3000.pdf]]<br />
The order of the options in the option string is not important, so for example, "<tt>=l3000t0j</tt>" would yield the same results as "<tt>=jt0l3000</tt>".<br />
<br />
Instead of adjusting the vertical margins with the <tt>=t</tt> and <tt>=l</tt> options, you can also decrease the spacing between staves globally on the system. To do this, use the =v option followed by a list of distances between each staff on the system. In this example there are two staves in each system, so one value is expected after "=v". If there were three or more staves, then the vertical spacing values are separated by commas (and no spaces).<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =v160jt300 | ps2pdf - > [[Media:bach-wtc1p01-v160jt300.pdf|bach-wtc1p01-v160jt300.pdf]]<br />
<br />
In the above example, "<tt>=v160</tt>" means make the spacing between staves on the system slightly more than 1/2 and inch; "<tt>=j</tt>" means to right-justify the last system of music; and "<tt>t300</tt>" means add an extra inch to the top margin (the default setting is "<tt>=t120</tt>".<br />
<br />
=== Music size ===<br />
<br />
The ''muse2ps'' program can typeset music in several sizes: 6, 14, 16, 18 and 21. These numbers refer to the pixel count (at 300 DPI) between successive staff lines. For example, here is a zoom-in of music typeset using the size 6 font, where each staff line is one pixel wide, and there are 5 pixels in the gap between lines, making each staff line spaced every 6 pixels and hence the name "size 6":<br />
<br />
<center><br />
[[File:Dmuse-size6.png|411px]]<br />
</center><br />
<br />
<br />
The default size that ''muse2ps'' will typeset music in is size 14. To display the music at other sizes, use the <tt>=z</tt> option followed by the size. Here is the example prelude printed in all sizes (with right-justification of the last system using <tt>=j</tt> also added to the option string):<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z6j&nbsp;&nbsp;| ps2pdf - > [[Media:bach-wtc1p01-z6j.pdf|bach-wtc1p01-z6j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z14j | ps2pdf - > [[Media:bach-wtc1p01-z14j.pdf|bach-wtc1p01-z14j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z16j | ps2pdf - > [[Media:bach-wtc1p01-z16j.pdf|bach-wtc1p01-z16j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z18j | ps2pdf - > [[Media:bach-wtc1p01-z18j.pdf|bach-wtc1p01-z18j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z21j | ps2pdf - > [[Media:bach-wtc1p01-z21j.pdf|bach-wtc1p01-z21j.pdf]]<br />
<br />
Full-scores are typically printed at size 14 (particularly scores with many parts). Parts for performers are typically printed at sizes 18 or 21. Piano music is typically printed at size 16, and Size 18 has dither on two-pixel wide staff lines. The approximate equivalents to point sizes in regular text (multiplying by the factor 72/300 and then multiplying by 3):<br />
<br />
<center><br />
{| class="wikitable" cellpadding="0" cellspacing="0" border="0"<br />
|- |- {{Style|table header}}<br />
! scope="col" align="left" | MuseData music size<br />
! scope="col" align="left" | Staff height (mm)<br />
! score="col" align="left" | Approximate text font size<br />
! score="col" align="left" | Musical application<br />
|-<br />
| 6 || 2.03 mm || 4 pt || none<br />
|-<br />
| 14 || 4.74 mm || 10 pt || full scores<br />
|-<br />
| 16 || 5.42 mm || 11.5 pt || piano music, vocal scores<br />
|-<br />
| 18 || 6.10 mm || 13 pt || instrumental parts<br />
|-<br />
| 21 || 7.11 mm || 15 pt || large-size instrumental parts<br />
|}<br />
</center><br />
<br />
=== Extracting MPG intermediate data ===<br />
<br />
When a MuseData [[stage2]] file is converted into graphical music notation as PostScript output from ''muse2ps'', it will pass through two data transformation steps. The first step is a conversion from [[stage2]] data into non-page-specific [[i-files]] which is accomplished with the [[autoset]] component. Then these "non-page-specific" [[i-files]] are converted into "page-specific" [[page files|i-files]] (or Music Page (MPG) files) which describe the precise position of musical elements on each page of typeset music. This [[music page]] data can be extracted from the program surreptitiously by using the "=P" option. This will cause the [[MPG]] data to be embedded in comments within the PostScript output. Each page of MPG data will be stored in a sequence of comments starting with "<tt>%=BeginMPGData: 1</tt>", where <tt>1</tt> is the data for page one. And each page of MPG data is ended by the comment <tt>"%=EndMPGData: 1"</tt>.<br />
<br />
All MuseData/dmuse related comments in the PostScript output start with the comment marker "%=", so the MPG data can easily be separated from the PostScript content and other irrelevant comments in a manner such as this:<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =P | grep "^%=" > [[Media:Mpg-comments.txt|mpg-comments.txt]]<br />
The [[regular expression]] search string "<tt>^%=</tt>" used in the [http://en.wikipedia.org/wiki/Grep grep] command means extract lines from the input which start with the two characters "<tt>%=</tt>".<br />
<br />
A PERL utility program, called [[Media:unpackmpg.pl|unpackmpg]], for extracting the MPG data from the comments is included with the source code for ''muse2ps'':<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =Pg85jt200l3000 | [[Media:unpackmpg.pl|unpackmpg]] > [[Media:Mpg-comments.mpg|mpg-comments.mpg]]<br />
In the above command the options mean:<br />
* <tt>=P</tt>: Output [[music page]] data<br />
* <tt>=g85</tt>: Set the distance between the staves in the grand staff to 8.5 staff lines (default is 100, or 10 staff lines).<br />
* <tt>=j</tt>: Right-justify the last system of the music.<br />
* <tt>=t200</tt>: Set the top margin to 2/3 of a inch below the base position.<br />
* <tt>=l3000</tt>: Set the vertical printable region to 10 inches.<br />
<br />
=== Inputting MPG data (adding a title) ===<br />
<br />
The extracted [[music page]] data from the previous section can be edited (such as to add a title) and then can be reprocessed by ''muse2ps'' to generate PostScript output:<br />
cat [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] | muse2ps =p | ps2pdf - > [[Media:Bach-wtc1p01-title.pdf|bach-wtc1p01-title.pdf]]<br />
<br />
In this case the file [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] is the equivalent to the MPG data generated by ''muse2ps'' in the previous section: [[Media:Mpg-comments.mpg|mpg-comments.mpg]], but with these three lines added to generate a title for the first page:<br />
<br />
<pre><br />
X 14<br />
X 46 1200C 0 Well-tempered Clavier, Book I, prelude 1 in C major<br />
X 37 1200C 50 BWV 846<br />
</pre><br />
<br />
The first line sets the font indexes relative to music size 14. The second line places the line at "1200C 0" which means center the line horizontally at location 1200 (4 inches from the left margin), and position the line vertically at position 0 (0 inches below the top margin).<br />
<br />
[[Music page]] data for many of the score on http://www.musedata.org are available as both [[stage2]] files and [[music page]] files. Using the [[music page]] files as input to ''muse2ps'' will generate better graphical notation results, since the automatically typeset data from the [[stage2]] files has been proofread and adjusted by a human.<br />
<br />
== Options ==<br />
<br />
Below is a list of the options which muse2ps understands. Options are given<br />
as the first (and only) argument to the program, staring with an equals sign (=), then followed by the options in any order, with no spaces between the options. For example, to set the music size to 18 and right-justify the last system on the last page, use the option string =z21j:<br />
cat file.md2 | muse2ps =z21j > file.ps<br />
When using characters which my be parsed by the command-line interpreter, you will have to enclose the option string in single quotes (you can do this all of the time if you are uncertain of the conditions in which they would be required):<br />
cat file.md2 | muse2ps '=z21js^{(..}}^T^title^' | ps2pdf - > file.pdf<br />
<br />
In option strings such as "=c<#>", replace <#> with an integer. <tt>[#]</tt> indicates an optional number.<br />
<br />
{|class="wikitable" cellpadding="0" cellspacing="0" border="0" style="width:100%"<br />
|- {{Style|table header}}<br />
! scope="col" width="100px" align="center"| muse2ps option index<br />
|-<br />
| <div style="column-count:3;-moz-column-count:3;-webkit-column-count:3"><br />
* {{nowrap|{{mopt|c}} compression}}<br />
* {{nowrap|{{mopt|C}} composer}}<br />
* {{nowrap|{{mopt|d}} diagnostics}}<br />
* {{nowrap|{{mopt|D}} dash spacing}}<br />
* {{nowrap|{{mopt|E}} eof insertion}}<br />
* {{nowrap|{{mopt|f}} fill by staff}}<br />
* {{nowrap|{{mopt|F}} fill by system}}<br />
* {{nowrap|{{mopt|g}} grand staff spacing}}<br />
* {{nowrap|{{mopt|G}} group selection}}<br />
* {{nowrap|{{mopt|h}} note space}}<br />
* {{nowrap|{{mopt|i}} indentation flag}}<br />
* {{nowrap|{{mopt|I}} indentation amount}}<br />
* {{nowrap|{{mopt|j}} justification}}<br />
* {{nowrap|{{mopt|k}} display options}}<br />
* {{nowrap|{{mopt|l}} page length}}<br />
* {{nowrap|{{mopt|m}} left margin}}<br />
* {{nowrap|{{mopt|M}} embed stage2 data}}<br />
* {{nowrap|{{mopt|n}} number of systems}}<br />
* {{nowrap|{{mopt|p}} page files input}}<br />
* {{nowrap|{{mopt|P}} embed page files}}<br />
* {{nowrap|{{mopt|Q}} min. dist. dur.}}<br />
* {{nowrap|{{mopt|s}} system spine}}<br />
* {{nowrap|{{mopt|S}} title/system space}}<br />
* {{nowrap|{{mopt|t}} top margin}}<br />
* {{nowrap|{{mopt|T}} title}}<br />
* {{nowrap|{{mopt|u}} subtitle}}<br />
* {{nowrap|{{mopt|v}} staff spacing}}<br />
* {{nowrap|{{mopt|w}} system width}}<br />
* {{nowrap|{{mopt|W}} thin barlines}}<br />
* {{nowrap|{{mopt|x}} no suggestions}}<br />
* {{nowrap|{{mopt|X}} no last barline}}<br />
* {{nowrap|{{mopt|y}} no line controls}}<br />
* {{nowrap|{{mopt|Y}} no initial time sig.}}<br />
* {{nowrap|{{mopt|z}} music size}}<br />
</div><br />
|}<br />
<br><br />
<br />
See also the Dmuse text file [[Media:muse2ps-options.dm | options.dm]], or the HTML equivalent [[Media:muse2ps-options.html| options.html]] for a brief description of each option.<br />
<br />
{| style="background-color:white" cellpadding="4"<br />
|- valign="top"<br />
| {{anchor|c_option}}<b>=c</b><#>|| Compression factor: This is measured as a percentage of the default. 100 = no compression (100%). Use smaller values to decrease the spacing between notes (allowing fewer pages in the score). Values larger than 100 will expand the distance between notes (increasing the number of pages in the score). This option is useful to force the last system of music to occur at the bottom of a page.<br />
<br />
|- valign="top"<br />
|{{anchor|C_option}}<b>=C</b>^string^ || Display the ''string'' as the composer's name at the top right side of the first page. See <b>=T</b> for the title, and <b>=u</b> for the sub-title. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|d_option}}<b>=d</b><#> || Diagnostics and Error Messages.<br />
bit 0 of #: ON = print error messages<br />
bit 1 of #: ON = print all diagnostics<br />
bit 2 of #: ON = print diagnostics from autoset<br />
bit 3 of #: ON = print diagnostics from mskpage<br />
bit 4 of #: ON = print diagnostics from pspage<br />
no number = 0x01: print error messages<br />
For example, =d31 turns on all error message toggles. This option is useful if the output PostScript data from muse2ps is empty. The messages go to standard error, while the PostScript data goes to standard output. Therefore, you can print the error messages and still save or pipe the PostScript data without the error messages mixing with the output data.<br />
<br />
|- valign="top"<br />
| {{anchor|D_option}}<b>=D</b> || spacing between dashes. Will over-ride spacing in stage2 files: 0 = use default, >0 = space between dashes (units are dash length)<br />
<br />
|- valign="top"<br />
| {{anchor|E_option}}<b>=E</b> || <tt>/END</tt> = <tt>/eof</tt>. The muse2ps program allows for multiple parts to be entered from standard input in a single stream of data. Normally the data files representing each part are separated from each other by a line containing only "<tt>/eof</tt>" (lowercase; meaning "End of File"). Separate MuseData [[stage2]] files do not typically end in "<tt>/eof</tt>", but rather, they are required to contain the line "<tt>/END</tt>" (uppercase) to indicate the end of the data. After "<tt>/END</tt>", any textual comments are allowed. With the =E option, you do not need to separate files by "<tt>/eof</tt>", and instead, the next file in the sequence will start on the line coming after "<tt>/END</tt>". Note, however, that you cannot use the =E option if there is any commentary after "<tt>/END</tt>" in a file.<br />
<br />
|- valign="top"<br />
| {{anchor|f_option}}<b>=f</b> || Fill pages to the bottom by proportionally stretching all spacings. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|F_option}}<b>=F</b> || Fill pages to the bottom by adding to the intersystem space only. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|g_option}}<b>=g</b><#>|| Grand staff intra-space measured in multiples of ledger lines times 10. The default is 100, which is 10 ledger lines. Note that this distance reference is different from the =v values which define the distance from the top of one staff to the top of the next staff. For the =g, option, the distance is from the bottom of the top staff to the top of the bottom staff.<br />
<br />
|- valign="top"<br />
| {{anchor|G_option}}<b>=G</b>^group-name^ || Group name to process. The default is "score". Available groups are found on data line 11 at the top of each MuseData [[stage2]] file (excluding any single- or multi-line comments). Other possibilities might be "part" or "data".<br />
<br />
|- valign="top"<br />
| {{anchor|h_option}}<b>=h</b><#> || Alter the minimum allowed space between notes. This is measured as a percentage of the default. 100 = no change (100%).<br />
<br />
|- valign="top"<br />
|{{anchor|i_option}}<b>=i</b><#> || Initial system indentation options flag.<br />
* 0 = use program defaults (set indentation with <tt>=I</tt> option).<br />
* 1 = no indentation of first system of music<br />
* 2 = indent first system, and after every forced system break.<br />
<br />
|- valign="top"<br />
| {{anchor|I_option}}<b>=I</b><#> || Specify the indentation amount for the first system in the music. If zero, then default indentation amount will be used. (see the <tt>=i</tt> option for turning off indentation).<br />
<br />
|- valign="top"<br />
|{{anchor|j_option}}<b>=j</b> || Right-justify the last system of the music so that it extends all of the way across the page. The default is NOT to right justify. Right-justification is a recursive process where measures from previous systems may be moved ahead in the score to cause all systems to have approximately the same note density.<br />
<br />
|- valign="top"<br />
| {{anchor|k_option}}<b>=k</b>^0x<tt>#</tt>^ || Display alternative options. Options are stored in a hexadecimal number prefixed with the string "<tt>0x</tt>" (C program-styled hex number). The default values are the 0 bit settings. The meaning of the bits in the hexadecimal number are (from least significant to most significant bit):<br />
<br />
<table cellpadding=0 cellspacing=0><br />
<tr valign=baseline><th>bit</th><td width=10></td><th>meaning</th></tr><br />
<br />
<tr valign=baseline><td>0</td><td></td><td><br />
<b>k-option activation flag</b><br />
* 1: <i>k</i> option is active, read options in more significant bits.<br />
* 0: <i>k</i> option is inactive. Used to turn off this option as a command-line over-ride.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>1</td><td></td><td><br />
<b>Sforzando/rfz flag</b><br />
* 0: display sforzando as sf (rf)<br />
* 1: display sforzando as sfz (rfz)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>2</td><td></td><td><br />
<b>Sub-edit flag</b><br />
* 0: diplay editorial markup differently from regular data (such as adding brackets around editorial elements).<br />
* 1: do not display editorial data differently from regular data.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>3</td><td></td><td><br />
<b>No-editorial flag</b><br />
* 0: display editorial markup data.<br />
* 1: do not display editorial markup data.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>4</td><td></td><td><br />
<b> Editorial markup in Roman font flag</b><br />
* 0: use cue-size music fonts for editorial marks.<br />
* 1: use Times-Roan font for editorial marks: tr, dynamics<br />
</td></tr><br />
<br />
<tr valign=baseline><td>5</td><td></td><td><br />
<b>Ligature flag</b><br />
* 0: do not use ligatures in text.<br />
* 1: use ligatures for "ffl", "ffi", "ff", "fl", and "fi".<br />
</td></tr><br />
<br />
<tr valign=baseline><td>6</td><td></td><td><br />
<b>figured harmony flag</b><br />
* 0: place figured harmony (figured bass) below the staff.<br />
* 1: place figured harmony (figured bass) above the staff.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>7</td><td></td><td><br />
<b> mheavy4 barline style flag</b><br />
* 0: mheavy4 barline represented by two heavy lines.<br />
* 1: mheavy4 barline represented by one thin, one thick, and then another thin line.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>8</td><td></td><td><br />
<b>Multi-voice augmentation dot option</b><br />
* 0: allow overstrike of dots in different voices.<br />
* 1: do now allow overstrike<br />
</td></tr><br />
<br />
<tr valign=baseline><td>9</td><td></td><td><br />
<b>New key signatures option</b><br />
* 0: don't print a new key signature if it is the same as the previous one on the staff.<br />
* 1: print a new key signature even if it repeats the previous key signature on the staff.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>10</td><td></td><td><br />
<b>Mixed rhythm chords</b><br />
* 0: Don't allow a mixture of white and black notes in chords.<br />
* 1: Allow mixture of white and black notes in chords.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>11</td><td></td><td><br />
<b>Suppress key signature flag </b><br />
* 0: display key signatures<br />
* 1: suppress printing of the key signature (such as for timpani parts).<br />
</td></tr><br />
<br />
<tr valign=baseline><td>12</td><td></td><td><br />
<b>Editorial slurs flag</b><br />
* 0: all slurs are regular.<br />
* 1: <tt>{ }</tt> amd <tt>z x</tt> slurs are editorial slurs (dashed slurs).<br />
</td></tr><br />
<br />
<tr valign=baseline><td>13</td><td></td><td><br />
<b>New clef sign flag </b><br />
* 0: Large clefs at start of system, cue-size clefs for clef changes.<br />
* 1: Always use large clefs.<br />
</td></tr><br />
<br />
</table><br />
<br />
|- valign="top"<br />
| {{anchor|l_option}}<b>=l</b><#>|| Length of a page. Distance is measured dots, at 300 dots to the inch. Default is 2740 dots. The default starting height is 120 dots. This will not be lowered, but may be raised to accommodate a longer page.<br />
<br />
|- valign="top"<br />
| {{anchor|m_option}}<b>=m</b><#> || Left margin, measured in at 300 dots/inch. The default is 200 dots<br />
<br />
|- valign="top"<br />
| {{anchor|M_option}}<b>=M</b> || include the contents of the MuseData source files in the Trailer section of the file embedded in PostScript comments (if MuseData [[stage2]] files are used as input.<br />
<br />
|- valign="top"<br />
| {{anchor|n_option}}<b>=n</b><#> || Maximum number of systems on a page. The default is no maximum.<br />
<br />
|- valign="top"<br />
| {{anchor|p_option}}<b>=p</b> || The source is a concatenated set of page specific i-files (also called .mpg files), not a set of MuseData files.<br />
<br />
|- valign="top"<br />
| {{anchor|P_option}}<b>=P</b> || include listings of the page specific i-files, which are the source of the output PostScript data. Each page is separated<br />
<br />
|- valign="top"<br />
| {{anchor|Q_option}}<b>=Q</b><#> || Duration which is assigned the minimum distance<br />
1 = whole notes<br />
... . . .<br />
8 = eighth notes<br />
16 = sixteenth notes, etc<br />
<br />
|- valign="top"<br />
| {{anchor|s_option}}<b>=s</b>^string^ || Custom left-hand spine. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=s^[(....)][(..)](.)[({..}..)]^<br />
Each dot in the system bracketing string represents one part, with the first dot in the string representing the top staff of the system. If a grand-staff is used for any part, then use the colon character (:) for that part. Staves which should be bracketed together are enclosed in square brackets: <tt>[]</tt>. Staves which should be braced together are enclosed in curly braces: <tt>{}</tt>. Staves which should be barred together (barlines connecting between staves) are enclosed in parentheses: <tt>()</tt>. The caret character (^) is used to mark the start and top of the option string. Subsequent options occur immediately after the second caret character with no intervening space.<br />
<br />
|- valign="top"<br />
| {{anchor|S_option}}<b>=S</b><#> || Add extra space between the title and the first system of music: 0 = use default, >0 = lower the first system (units are 1/300th of an inch).<br />
<br />
|- valign="top"<br />
|{{anchor|t_option}}<b>=t</b><#> || Top of page. Default is 120 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|T_option}}<b>=T</b>^string^ || Display the ''string'' as a title at the top of the (first) page. See <b>=u</b> for sub-title, and <b>=C</b> for composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|u_option}}<b>=u</b>^string^ || Display the ''string'' as a sub-title at the top of the (first) page. See <b>=T</b> for the title, and <b>=C</b> for the composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|v_option}}<b>=v</b><#,#,#...#> || Custom spacings. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=v192,192,192,208,192,208,176,176,176,200<br />
The above example setting for the =v option can be used for a system with 8 parts (such as 4 woodwinds, 2 horns, and 4 string instruments). The first seven values describe the spacing between each staff in the system, and the last value is the spacing between systems on the page. The spacing between staves and systems is constant with muse2ps. The spacing values are 1/10th of the distance between two staff lines, and the spacing value is the distance from the top of one staff to the top of the next staff (or the top of the last staff on a system to the top of the staff on the next system for the last value in the list). See the <tt>=g</tt> option for spacing the staves of a grand staff (such as for piano music). When a grand staff is part of a system with more parts, then the distance between the grand staff and the next system is the distance between the top of the bottom staff of the grand-staff pair and the top of the next staff.<br />
<br />
|- valign="top"<br />
| {{anchor|w_option}}<b>=w</b><#> || System width, measured in at 300 dots/inch. The default is 2050 dots<br />
<br />
|- valign="top"<br />
| {{anchor|W_option}}<b>=W</b>[#] || Thin barline flag. 0 = use regular barlines. 1 = use thin barlines. No number after <tt>=W</tt> means the same as <tt>=W0</tt>.<br />
<br />
|- valign="top"<br />
| {{anchor|x_option}}<b>=x</b> || Defeat all part inclusion suggestions in the data<br />
<br />
|- valign="top"<br />
| {{anchor|X_option}}<b>=X</b>[#] || Leave off the last barline (for short examples). 0 = print last bar, 1 = don't print last bar, <tt>=X</tt> without a number is equivalent to <tt>=X1</tt>. Note: you can add extra staff line space in the last bar by putting in <tt>irest</tt>s, but you must put <tt>irest</tt>s in all parts ,and they must all represent the same note type (duration). Note also: If the last bar line is anything but a regular measure line, it will continue to print.<br />
<br />
|- valign="top"<br />
|{{anchor|y_option}}<b>=y</b> || Defeat all line control suggestions in the data<br />
<br />
|- valign="top"<br />
|{{anchor|Y_option}}<b>=Y</b><#> || Suppress printing first time signature in score. Used for printing small examples which have a time signature in the data, but none desired in graphical notation. You can also use a time signature in the data of "<tt>T:9/0</tt>" to generate a <i>hidden</i> time signature, and not giving a time signature at the start of a file will result in not time signature being printed. 0 = print initial time signatures (used to override options embedded in data). 1 = suppress first time signature (<tt>=Y</tt> is equivalent to <tt>=Y1</tt>).<br />
<br />
|- valign="top"<br />
| {{anchor|z_option}}<b>=z</b><#> || Music size: choices are 6,14,16,18,21. 14 is the default. This value describes the distance between staff lines in units of 300 dots per inch.<br />
<br />
|}<br />
<br />
== Multi-file input specification ==<br />
<br />
Normally individual MuseData [[stage2]] files contain a single part. These part files are concatenated together and sent via standard input into the muse2ps program. In order for the muse2ps program to be able to segment the separate part files from the original stream the marked "<tt>/eof</tt>" is added after the last line in each file, and the marker "<tt>//</tt>" is ''required'' after the end of all datafile input into muse2ps. <br />
<br />
Typically the last line of a [[stage2]] MuseData file consists of the string "<tt>/END</tt>" (in uppercase), so add the line "<tt>/eof</tt>" (in lowercase) after it: <br />
/END<br />
/eof<br />
<br />
The very last three lines of input to muse2ps should should look like this:<br />
<br />
/END<br />
/eof<br />
//<br />
<br />
If you specify the =E option when running muse2ps, the "<tt>/END</tt>" markers will be used to segment the separate part files internally.<br />
<br />
The PERL script [[Media:collatemd2.pl|collatemd2]] (included with the source code to muse2ps) can be used to concatenate multiple [[stage2]] part files into a single input stream for muse2ps. The output of the PERL script can be saved to a file for later processing with muse2ps. In this case the recommended file extension for the multi-file MuseData content is <b>.md2</b> . Here are example uses of [[Media:collatemd2.pl|collatemd2]]:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
You many have to type "<tt>./collatemd2</tt>" instead of "<tt>collatemd2</tt>" if the perl program is in the current directory and the current directory is not in the command search path. If you download the program from this page, remove the .pl extension when saving (and use a lower-case first letter for the filename). You may have to set the permissions to allow it to be run as a program with the unix command: <tt>chmod 0755 collatemd2</tt>.<br />
<br />
Alternatively, you can save the output from [[Media:collatemd2.pl|collatemd2]] into a file for later use with muse2ps:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] > [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]]<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
When downloading MuseData [[stage2]] files from http://www.musedata.org , the parts are all combined into a single multi-file MuseData file which is the equivalent to the output from [[Media:collatemd2.pl|collatemd2]].<br />
<br />
=== Multiple Music Page files ===<br />
<br />
When concatenating multiple Music Page (MPG) files, separate each file's content with a line with the single capital letter "P" on it. Example of how to do this on the command line, creating a PDF file:<br />
<br />
<source lang="bash"><br />
for i in ??<br />
do<br />
cat $i<br />
echo P<br />
done | muse2ps =p | ps2pdf - - > output.pdf<br />
</source><br />
<br />
N.B.: Probably two slashes also need to be added at the end of the last page; otherwise, it will not print:<br />
<br />
//<br />
<br />
== Color highlighting ==<br />
<br />
A soon-to-be released update of muse2ps will allow for coloring of notes in the score. This colorization can be used in conjunction with displaying search results, or highlighting notes in an example. <br />
<br />
If you place an "R" character in column 14 for note (or rest) records, That note will be highlighted red. A capital "R" will also highlight the stem of the note, while a lower case "r" will color only the notehead. If multiple colored notes all share a common beam, then that beam is also highlighted.<br />
<br />
The letter "B" can be used in column 14 to color notes blue, and the letter "G" can be used to color notes green. The lowercase versions "r" and "g" can be used to color only the noteheads and not the stems.<br />
<br />
== Embedded options ==<br />
<br />
The <i>muse2ps</i> program can read options sent in the input data stream. Options can be embedded in the input data as single-line comments. In [[stage2]] files, single-line comments start with an at-sign (<tt>@</tt>) in the first column of the line. Following the comment marker comes an option identification string "<tt>muse2psv1</tt>", with "<tt>v1</tt>" being the option version level (currently level 1, and can be used in the future to keep options backwards and forwards compatible. Default options, listed in the previous section describing the options, can be overridden by using the default option setting method which adds two equal signs in a row, followed by any options. Multiple default option <br />
comments may occur to prevent the length of the line from getting too long (it is a good idea to limit the length of the line for full backwards compatibility with dmuse and [[stage2]] files, although the current line limit in dmuse/muse2ps is 900 characters).<br />
<br />
Option for specific music sizes can be set by placing the size option between the two equals signs in the option comment. Here is an example option comment header:<br />
<br />
@muse2psv1==z18<br />
@muse2psv1==T^Bach Chorale^u^bwv-277^C^J.S. Bach (1685-1750)^<br />
@muse2psv1=z14=v200,155,155,155j<br />
@muse2psv1=z18=v240,195,195,195j<br />
@muse2psv1=z21=v300,230,230,230j<br />
<br />
The first two lines are default option settings for all music sizes. The first line sets the default music size to 18 if no size is given on the command line to muse2ps. The second line sets the title, subtitle, and composer fields on the title page. The last three lines set the vertical spacing between staves at various music sizes; the first for size 14, then size 18, and the last line for size 21.<br />
<br />
== ps2pdf options ==<br />
<br />
The default behavior of the ps2pdf program is to assume that the input data is formatted for A4 paper. The default output size for muse2ps is US letter. In order for ps2pdf to generate output pages with the correct dimensions, add the option <tt>-sPAPERSIZE=letter</tt> as an argument to the program:<br />
ps2pdf -sPAPERSIZE=letter<br />
<br />
Another pair of useful options (not needed for output from muse2ps, but useful when adding footers at later states in data program) embed the fonts used in the file:<br />
ps2pdf -sPAPERSIZE=letter -dCompatibilityLevel=1.4 -dPDFSETTINGS=/prepress<br />
<br />
For example the Symbol font is not present on the Apple iPad PDF viewer. When using the options in this example, the Symbol font (or the portion used) would be embedded in the file and therefore viewable on an iPad.<br />
<br />
== Creating images ==<br />
<br />
Graphical images can be created in various ways. A good method is to convert PostScript output from muse2ps to a bitmap image with the unix command-line program pstopnm. For smaller examples and converting to other images formtas, Imagemagick's convert is another command-line which is useful. Both pstopnm and convert are often pre-installed on linux computers, and both are available for free on the internet. They should also work with OS X, and can be used in MS Windows using [http://www.cygwin.com cygwin].<br />
<br />
To create an image pipe the output from muse2ps into pstopnm, and convert to a bitmapped image at 300 dots per inch. Next pipe the resulting image to convert for further processing. In the following example, the image is first trimmed from a full page to just the area which contains the printed music, then the image is resized to 33% of the original size for use on the web, and saved into a PNG file.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -resize '33%' [[Media:scale.png|scale.png]]<br />
<br />
=== Transparent background ===<br />
<br />
Use the options <tt>-negate -alpha copy -negate</tt> to make the background of the image transparent so that it can be displayed on any background color. Here is the example image which was just created with the above command:<br />
<br />
[[Image:scale.png]]<br />
<br />
Notice that the background color of the image is white, which becomes noticeable when placing the image on a non-white background color. Now create an image with a transparent background:<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -negate -alpha copy -negate \<br />
-resize '33%' [[Media:scale-transparent.png|scale.png]]<br />
<center><br />
<table cellspacing=0 cellpadding=3><tr bgcolor=#ffffff><td bgcolor=#4499aa><br />
[[Image:scale-transparent.png]]<br />
</td><td width=10><br />
<td bgcolor=#ffaa44>[[Image:scale-transparent.png]]<br />
</td></tr></table></center><br />
<br />
<br />
=== Images for printed publications ===<br />
<br />
To insert musical examples in a Microsoft or similar word processing program, do not resize the image, but leave it at the 300 dots per inch size of the original. Then you can rescale the image in the word processor as necessary. This will optimize the quality of the image in the final printout from the word processor.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim [[Media:scale-large.png|scale.png]]<br />
<br />
== Humdrum interface ==<br />
<br />
The muse2ps program can be used in conjunction with the [http://extra.humdrum.org/man/hum2muse hum2muse] program. Here is an example of how to create graphical music notation using the following Humdrum data as an example:<br />
<br />
<table cellspacing=0><tr bgcolor=white valign=top><td><htmlet>beethoven-kern</htmlet></td><br />
<td width=10></td><br />
<td> <br />
<pre><br />
hum2muse file.krn | muse2ps \<br />
| ps2pdf - - > file.png<br />
</pre><br />
[[Image:beethoven-kern.png]] <br />
<br><br />
<br><br />
<br><br />
</td><br />
</tr><br />
</table><br />
<br />
Images can be generated from Humdrum data online by pasting/typing data into the [http://kern.humdrum.org/cgi-bin/kern/kseditor Humdrum online editor]. For example, copy and paste the above Humdrum data into the left black box on the Humdrum online editor page, and the click on the red "Generate" button to produce an image of the graphical music using the default settings.<br />
<br />
Here is the intermediate MuseData which is passed between [http://extra.humdrum.org/man/hum2muse hum2muse] and muse2ps: [[Media:beethoven-kern.md2 | beethoven.md2]]. Try copying / pasting<br />
this data into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in the same music notation as seen above.<br />
<br />
== Zbex programs ==<br />
<br />
In the muse2ps source code directory, the sub-directory <tt>zprogs</tt> contains the [[zbex]] programs used to generate the file zfun32.c. Most necessary files needed to create [http://www.ccarh.org/software/muse2ps/muse2ps/zfun32.c zfun32.c] are in that directory, but perhaps not all of them. These programs are not used directly by muse2ps, but are compiled into zbex executable code within zfun32.c. The muse2ps is essentially a non-interactive version of [[dmuse]] (see http://dmuse.ccarh.org). The [[dmuse]] program is a text editor which also has a built-in [[zbex]] language interpreter and graphical music display capabilities. The interpreter portion of [[dmuse]] has been extracted for non-interactive use in muse2ps.<br />
<br />
== Examples == <br />
<br />
Further examples of MuseData [[stage2]] files converted into graphical music notation with muse2ps can be found on the [[MuseData examples]] page.<br />
<br />
== Feature requests and bug reports ==<br />
<br />
See the page: [[Muse2ps feature requests and bug reports]].</div>Edchttps://wiki.ccarh.org/index.php?title=Muse2ps&diff=10496Muse2ps2021-03-30T14:19:08Z<p>Edc: /* Last system justification */</p>
<hr />
<div>__TOC__<br />
<br />
== Overview == <br />
<br />
The <b>muse2ps</b> program is a command-line version of the [[autoset]], [[mskpage]] and [[pspage]] programs which are usually run within the [[dmuse]] editor using the built-in [[zbex language]] interpreter. The ''muse2ps'' program reads MuseData [[stage2]] data or [[page file]] data from standard input and converts them into PostScript data representing graphical musical notation which is sent to standard output. The following diagram illustrates the flow of data through ''muse2ps'':<br />
<br />
<br />
<center><br />
[[File:muse2ps-dataflow.svg]]<br />
</center><br />
<br />
The ''muse2ps'' program can accept two forms of input. By default, the ''muse2ps'' program will read multi-file [[stage2]] data from standard input. MuseData [[stage2]] files contain primarily symbolic musical data with possibly a little bit of formatting information (such as system and page breaks). The ''muse2ps'' program will format this symbolic music internally into [[page files]] which give explicit information about the placement of notes, slurs, beams, dynamics, lyrics, ''etc.'' on each page of music.<br />
<br />
Alternatively, if the <tt>=p</tt> option is given as an [[argument]] to ''muse2ps'', the program can read multi-file [[page files]] directly from standard input. Typically, [[stage2]] files are converted automatically into [[pages files]] and then further processing is done on these [[page files]] in order to produce a final typeset score of the graphical music notation. For example, the [[vskpage]] is used to refine the vertical spacing of staves and systems on a page of music within [[page files]], and [[eskpage]] is used to interactively edit the position of graphical elements within [[page files]].<br />
<br />
The only output from ''muse2ps'' (besides error messages) is PostScript data which describes the graphical music notation in a printable score of the music. This data can be further processed, such as sending directly to a PostScript printer, or converting into PDF files for web distrubution of the notated music. The representation of music notation within the PostScript file is in the form of bit-mapped musical fonts. The musical fonts are designed for use with 300 DPI resolution printers when printed at the native resolution (originally these fonts were designed for [http://en.wikipedia.org/wiki/Printer_Command_Language PCL-based printers]). These fonts have the unique feature of [http://en.wikipedia.org/wiki/Dither dithered] edges on sloped beams to minimize the visual effect of pixel stepping at 300 DPI resolution. Minor notation editing can be done on the PostScript/PDF files in programs such as Adobe Illustrator. If you print via PDF files, you may want to uncheck the page-scaling option in the printing program in order to avoid aliasing artifacts in the hard copy due to changing the intended size of the music on the page. <br />
<br />
Two other forms of data can be embedded within the PostScript output. If the <tt>=M</tt> option is given as an [[argument]] to the ''muse2ps'' program, then the original [[stage2]] data will be stored within comments in the PostScript data. Likewise, if the <tt>=P</tt> option is given, the [[page file]] data will be included in the PostScript output as comments. The [[page file]] data will either come from automatic generation using [[autoset]]/[[mskpage]], or from standard input if you use the <tt>=p</tt> option.<br />
<br />
There are also numerous options which primarily deal with the formatting of [[stage2]] files with the [[autoset]] and [[mskpage]] program components. See the [[#Options| options]] section below for a complete list of the options.<br />
<br />
== Download ==<br />
<br />
The ''muse2ps'' program executables for various operating systems or the source code can be downloaded from the following table. <b>Instructions for setting up the program for use can be found ''[[Muse2ps_installation_instructions| here]]''.</b><br />
<br />
<br />
<center><br />
{{muse2psdownloadtable}}<br />
</center><br />
<br />
== Online ==<br />
<br />
The ''muse2ps'' program can be run online at http://www.musedata.org/mdconverter . If you click on [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icons next to data found on the http://www.musedata.org website, the musical data will be loaded into this online converter from which PostScript, PDF, or PNG images of the music can be generated. <br />
<br />
For example, click on the [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icon on the information page for this [http://www.musedata.org/encodings/bach/bg/chorals/0428/ Bach chorale], then click on the {{keypress|Submit}} button on the converter page to generate a PDF file of the chorale with the default settings. Then try setting some options, such as using "<tt>[(.)(.)(.)(.)]</tt>" for the <b>System spine</b> option to prevent barlines from being drawn between staves in the score.<br />
<br />
You can create your own MuseData content and print with the online converter as well. Copy and paste the following MuseData content: [[Media:beethoven-kern.md2 | beethoven.md2]] into into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in this graphical music notation:<br />
<center><br />
[[Image:beethoven-kern.png]]<br />
</center><br />
<br />
== Command-line examples ==<br />
<br />
The simplest use of ''muse2ps'' is to send it MuseData [[stage2]] files as standard input, and save standard output from the program into a PostScript file:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps > [[Media:bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
<br />
You may need to use "<tt>./muse2ps</tt>" instead of "<tt>muse2ps</tt>" in the above command if the ''muse2ps'' program file is in the current directory, but the current directory is not in your [http://en.wikipedia.org/wiki/PATH_%28variable%29 command search path]. The PostScript output can then be further processed in an external program. Usually it is more convenient to work with the data as a PDF file. The process of converting PostScript to PDF can be done by many methods. For example, Acrobat Distiller or Acrobat Professional will convert PostScript files into PDF files. There are online converters, such as this one: http://www.ps2pdf.com/convert.htm . And on most linux computers you can convert PostScript into PDF files using the [http://pages.cs.wisc.edu/~ghost/doc/gnu/5.50/Ps2pdf.htm ps2pdf] command:<br />
ps2pdf [[Media:Bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
This will create the file [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]] (replacing the .ps extension with a .pdf extention automatically when saving the PDF file). If you click on the PDF file link in the previous sentence, you should see the musical notation for J.S. Bach's Well-Tempered Clavier, Book I, Prelude 1 in C major.<br />
<br />
An alternate method of using ps2pdf to generate a PDF file in a single step in conjunction with ''muse2ps'' would be with this command-line construction:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps | ps2pdf - > [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]]<br />
<br />
=== Last system justification ===<br />
<br />
By default ''muse2ps'' does not right-justify the last system of the music on the last page of the output (as can be seen in [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]]). If you<br />
want to justify the last system, use the <tt>=j</tt> option as an argument to ''muse2ps'':<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =j | ps2pdf - > [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]<br />
The ''muse2ps'' (or more precisely, the internal [[mskpage]] component) will possibly adjust line breaks on one or more of the previous systems in the score in order to fill enough music onto the last system, and then stretch or contract the music on the last system to fit the width between margins exactly. The <tt>=j</tt> option can potentially take significantly more time to process the input data than when it is omitted. The reason for the increased processing time can be seen by comparing [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]] and [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]. In order to right-justify the last system of the music, all systems in the music were recursively re-typeset so that the first system in the music contains only three measures instead of four.<br />
<br />
=== Grand-Staff vertical spacing ===<br />
<br />
The distance between staves in the grand staff (which is used for instruments such as the piano) can be controlled by the =g option. An integer number follows after the letter "g" in the option which specifies the distance between the two staves in terms of 1/10ths of the distance between staff lines. The default value for this option is =g100 which means that the distance between the top line of each staff is 10 staff lines.<br />
<br />
Here is an example of reducing the spacing between the staves to nothing. The =g50 option in this case means that the distance between the top of each staff is 5 staff lines. And since this is the height of a single staff, there will be no space between the two staves:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =g50 | ps2pdf - > [[Media:bach-wtc1p01-g50.pdf|bach-wtc1p01-g50.pdf]]<br />
<br />
<br />
=== Single-staff spacing in a system ===<br />
<br />
A ''system'' is a collection of staves which represent different instruments playing at the same time. The distance between these staves can be controlled with the =v option. Following =v is a list of comma-separated integers (with no intervening spaces). The unit for these numbers is the same as in the =g option: 1/10th of the distance between successive staff lines.<br />
<br />
The default spacing between staves will depend on whether they are supposed to be barred together or not. Here is the default spacing for four staves of a string quartet:<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
=== Using multiple options ===<br />
<br />
In the previous examples, the prelude is printed on two pages, with a single orphan system occurring on the second page. One way to force the music to fit onto a single page is to set the top margin from 120 pixels to 0 pixels with the option <tt>=t0</tt> and the printable length on the page to 3000 pixels (10 inches) with the option <tt>=l3000</tt>. When supplying multiple optional settings to muse2ps, there is only one option string which starts with the equals character (<tt>=</tt>) and is followed by all options with no spaces. Here is an example of using the <tt>=t0</tt>, <tt>=l3000</tt> and <tt>=j</tt> options at the same time, resulting in a single page of music:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =jt0l3000 | ps2pdf - > [[Media:bach-wtc1p01-jt0l3000.pdf|bach-wtc1p01-jt0l3000.pdf]]<br />
The order of the options in the option string is not important, so for example, "<tt>=l3000t0j</tt>" would yield the same results as "<tt>=jt0l3000</tt>".<br />
<br />
Instead of adjusting the vertical margins with the <tt>=t</tt> and <tt>=l</tt> options, you can also decrease the spacing between staves globally on the system. To do this, use the =v option followed by a list of distances between each staff on the system. In this example there are two staves in each system, so one value is expected after "=v". If there were three or more staves, then the vertical spacing values are separated by commas (and no spaces).<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =v160jt300 | ps2pdf - > [[Media:bach-wtc1p01-v160jt300.pdf|bach-wtc1p01-v160jt300.pdf]]<br />
<br />
In the above example, "<tt>=v160</tt>" means make the spacing between staves on the system slightly more than 1/2 and inch; "<tt>=j</tt>" means to right-justify the last system of music; and "<tt>t300</tt>" Means add an extra inch to the top margin (the default setting is "<tt>=t120</tt>".<br />
<br />
=== Music size ===<br />
<br />
The ''muse2ps'' program can typeset music in several sizes: 6, 14, 16, 18 and 21. These numbers refer to the pixel count (at 300 DPI) between successive staff lines. For example, here is a zoom-in of music typeset using the size 6 font, where each staff line is one pixel wide, and there are 5 pixels in the gap between lines, making each staff line spaced every 6 pixels and hence the name "size 6":<br />
<br />
<center><br />
[[File:Dmuse-size6.png|411px]]<br />
</center><br />
<br />
<br />
The default size that ''muse2ps'' will typeset music in is size 14. To display the music at other sizes, use the <tt>=z</tt> option followed by the size. Here is the example prelude printed in all sizes (with right-justification of the last system using <tt>=j</tt> also added to the option string):<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z6j&nbsp;&nbsp;| ps2pdf - > [[Media:bach-wtc1p01-z6j.pdf|bach-wtc1p01-z6j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z14j | ps2pdf - > [[Media:bach-wtc1p01-z14j.pdf|bach-wtc1p01-z14j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z16j | ps2pdf - > [[Media:bach-wtc1p01-z16j.pdf|bach-wtc1p01-z16j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z18j | ps2pdf - > [[Media:bach-wtc1p01-z18j.pdf|bach-wtc1p01-z18j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z21j | ps2pdf - > [[Media:bach-wtc1p01-z21j.pdf|bach-wtc1p01-z21j.pdf]]<br />
<br />
Full-scores are typically printed at size 14 (particularly scores with many parts). Parts for performers are typically printed at sizes 18 or 21. Piano music is typically printed at size 16, and Size 18 has dither on two-pixel wide staff lines. The approximate equivalents to point sizes in regular text (multiplying by the factor 72/300 and then multiplying by 3):<br />
<br />
<center><br />
{| class="wikitable" cellpadding="0" cellspacing="0" border="0"<br />
|- |- {{Style|table header}}<br />
! scope="col" align="left" | MuseData music size<br />
! scope="col" align="left" | Staff height (mm)<br />
! score="col" align="left" | Approximate text font size<br />
! score="col" align="left" | Musical application<br />
|-<br />
| 6 || 2.03 mm || 4 pt || none<br />
|-<br />
| 14 || 4.74 mm || 10 pt || full scores<br />
|-<br />
| 16 || 5.42 mm || 11.5 pt || piano music, vocal scores<br />
|-<br />
| 18 || 6.10 mm || 13 pt || instrumental parts<br />
|-<br />
| 21 || 7.11 mm || 15 pt || large-size instrumental parts<br />
|}<br />
</center><br />
<br />
=== Extracting MPG intermediate data ===<br />
<br />
When a MuseData [[stage2]] file is converted into graphical music notation as PostScript output from ''muse2ps'', it will pass through two data transformation steps. The first step is a conversion from [[stage2]] data into non-page-specific [[i-files]] which is accomplished with the [[autoset]] component. Then these "non-page-specific" [[i-files]] are converted into "page-specific" [[page files|i-files]] (or Music Page (MPG) files) which describe the precise position of musical elements on each page of typeset music. This [[music page]] data can be extracted from the program surreptitiously by using the "=P" option. This will cause the [[MPG]] data to be embedded in comments within the PostScript output. Each page of MPG data will be stored in a sequence of comments starting with "<tt>%=BeginMPGData: 1</tt>", where <tt>1</tt> is the data for page one. And each page of MPG data is ended by the comment <tt>"%=EndMPGData: 1"</tt>.<br />
<br />
All MuseData/dmuse related comments in the PostScript output start with the comment marker "%=", so the MPG data can easily be separated from the PostScript content and other irrelevant comments in a manner such as this:<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =P | grep "^%=" > [[Media:Mpg-comments.txt|mpg-comments.txt]]<br />
The [[regular expression]] search string "<tt>^%=</tt>" used in the [http://en.wikipedia.org/wiki/Grep grep] command means extract lines from the input which start with the two characters "<tt>%=</tt>".<br />
<br />
A PERL utility program, called [[Media:unpackmpg.pl|unpackmpg]], for extracting the MPG data from the comments is included with the source code for ''muse2ps'':<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =Pg85jt200l3000 | [[Media:unpackmpg.pl|unpackmpg]] > [[Media:Mpg-comments.mpg|mpg-comments.mpg]]<br />
In the above command the options mean:<br />
* <tt>=P</tt>: Output [[music page]] data<br />
* <tt>=g85</tt>: Set the distance between the staves in the grand staff to 8.5 staff lines (default is 100, or 10 staff lines).<br />
* <tt>=j</tt>: Right-justify the last system of the music.<br />
* <tt>=t200</tt>: Set the top margin to 2/3 of a inch below the base position.<br />
* <tt>=l3000</tt>: Set the vertical printable region to 10 inches.<br />
<br />
=== Inputting MPG data (adding a title) ===<br />
<br />
The extracted [[music page]] data from the previous section can be edited (such as to add a title) and then can be reprocessed by ''muse2ps'' to generate PostScript output:<br />
cat [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] | muse2ps =p | ps2pdf - > [[Media:Bach-wtc1p01-title.pdf|bach-wtc1p01-title.pdf]]<br />
<br />
In this case the file [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] is the equivalent to the MPG data generated by ''muse2ps'' in the previous section: [[Media:Mpg-comments.mpg|mpg-comments.mpg]], but with these three lines added to generate a title for the first page:<br />
<br />
<pre><br />
X 14<br />
X 46 1200C 0 Well-tempered Clavier, Book I, prelude 1 in C major<br />
X 37 1200C 50 BWV 846<br />
</pre><br />
<br />
The first line sets the font indexes relative to music size 14. The second line places the line at "1200C 0" which means center the line horizontally at location 1200 (4 inches from the left margin), and position the line vertically at position 0 (0 inches below the top margin).<br />
<br />
[[Music page]] data for many of the score on http://www.musedata.org are available as both [[stage2]] files and [[music page]] files. Using the [[music page]] files as input to ''muse2ps'' will generate better graphical notation results, since the automatically typeset data from the [[stage2]] files has been proofread and adjusted by a human.<br />
<br />
== Options ==<br />
<br />
Below is a list of the options which muse2ps understands. Options are given<br />
as the first (and only) argument to the program, staring with an equals sign (=), then followed by the options in any order, with no spaces between the options. For example, to set the music size to 18 and right-justify the last system on the last page, use the option string =z21j:<br />
cat file.md2 | muse2ps =z21j > file.ps<br />
When using characters which my be parsed by the command-line interpreter, you will have to enclose the option string in single quotes (you can do this all of the time if you are uncertain of the conditions in which they would be required):<br />
cat file.md2 | muse2ps '=z21js^{(..}}^T^title^' | ps2pdf - > file.pdf<br />
<br />
In option strings such as "=c<#>", replace <#> with an integer. <tt>[#]</tt> indicates an optional number.<br />
<br />
{|class="wikitable" cellpadding="0" cellspacing="0" border="0" style="width:100%"<br />
|- {{Style|table header}}<br />
! scope="col" width="100px" align="center"| muse2ps option index<br />
|-<br />
| <div style="column-count:3;-moz-column-count:3;-webkit-column-count:3"><br />
* {{nowrap|{{mopt|c}} compression}}<br />
* {{nowrap|{{mopt|C}} composer}}<br />
* {{nowrap|{{mopt|d}} diagnostics}}<br />
* {{nowrap|{{mopt|D}} dash spacing}}<br />
* {{nowrap|{{mopt|E}} eof insertion}}<br />
* {{nowrap|{{mopt|f}} fill by staff}}<br />
* {{nowrap|{{mopt|F}} fill by system}}<br />
* {{nowrap|{{mopt|g}} grand staff spacing}}<br />
* {{nowrap|{{mopt|G}} group selection}}<br />
* {{nowrap|{{mopt|h}} note space}}<br />
* {{nowrap|{{mopt|i}} indentation flag}}<br />
* {{nowrap|{{mopt|I}} indentation amount}}<br />
* {{nowrap|{{mopt|j}} justification}}<br />
* {{nowrap|{{mopt|k}} display options}}<br />
* {{nowrap|{{mopt|l}} page length}}<br />
* {{nowrap|{{mopt|m}} left margin}}<br />
* {{nowrap|{{mopt|M}} embed stage2 data}}<br />
* {{nowrap|{{mopt|n}} number of systems}}<br />
* {{nowrap|{{mopt|p}} page files input}}<br />
* {{nowrap|{{mopt|P}} embed page files}}<br />
* {{nowrap|{{mopt|Q}} min. dist. dur.}}<br />
* {{nowrap|{{mopt|s}} system spine}}<br />
* {{nowrap|{{mopt|S}} title/system space}}<br />
* {{nowrap|{{mopt|t}} top margin}}<br />
* {{nowrap|{{mopt|T}} title}}<br />
* {{nowrap|{{mopt|u}} subtitle}}<br />
* {{nowrap|{{mopt|v}} staff spacing}}<br />
* {{nowrap|{{mopt|w}} system width}}<br />
* {{nowrap|{{mopt|W}} thin barlines}}<br />
* {{nowrap|{{mopt|x}} no suggestions}}<br />
* {{nowrap|{{mopt|X}} no last barline}}<br />
* {{nowrap|{{mopt|y}} no line controls}}<br />
* {{nowrap|{{mopt|Y}} no initial time sig.}}<br />
* {{nowrap|{{mopt|z}} music size}}<br />
</div><br />
|}<br />
<br><br />
<br />
See also the Dmuse text file [[Media:muse2ps-options.dm | options.dm]], or the HTML equivalent [[Media:muse2ps-options.html| options.html]] for a brief description of each option.<br />
<br />
{| style="background-color:white" cellpadding="4"<br />
|- valign="top"<br />
| {{anchor|c_option}}<b>=c</b><#>|| Compression factor: This is measured as a percentage of the default. 100 = no compression (100%). Use smaller values to decrease the spacing between notes (allowing fewer pages in the score). Values larger than 100 will expand the distance between notes (increasing the number of pages in the score). This option is useful to force the last system of music to occur at the bottom of a page.<br />
<br />
|- valign="top"<br />
|{{anchor|C_option}}<b>=C</b>^string^ || Display the ''string'' as the composer's name at the top right side of the first page. See <b>=T</b> for the title, and <b>=u</b> for the sub-title. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|d_option}}<b>=d</b><#> || Diagnostics and Error Messages.<br />
bit 0 of #: ON = print error messages<br />
bit 1 of #: ON = print all diagnostics<br />
bit 2 of #: ON = print diagnostics from autoset<br />
bit 3 of #: ON = print diagnostics from mskpage<br />
bit 4 of #: ON = print diagnostics from pspage<br />
no number = 0x01: print error messages<br />
For example, =d31 turns on all error message toggles. This option is useful if the output PostScript data from muse2ps is empty. The messages go to standard error, while the PostScript data goes to standard output. Therefore, you can print the error messages and still save or pipe the PostScript data without the error messages mixing with the output data.<br />
<br />
|- valign="top"<br />
| {{anchor|D_option}}<b>=D</b> || spacing between dashes. Will over-ride spacing in stage2 files: 0 = use default, >0 = space between dashes (units are dash length)<br />
<br />
|- valign="top"<br />
| {{anchor|E_option}}<b>=E</b> || <tt>/END</tt> = <tt>/eof</tt>. The muse2ps program allows for multiple parts to be entered from standard input in a single stream of data. Normally the data files representing each part are separated from each other by a line containing only "<tt>/eof</tt>" (lowercase; meaning "End of File"). Separate MuseData [[stage2]] files do not typically end in "<tt>/eof</tt>", but rather, they are required to contain the line "<tt>/END</tt>" (uppercase) to indicate the end of the data. After "<tt>/END</tt>", any textual comments are allowed. With the =E option, you do not need to separate files by "<tt>/eof</tt>", and instead, the next file in the sequence will start on the line coming after "<tt>/END</tt>". Note, however, that you cannot use the =E option if there is any commentary after "<tt>/END</tt>" in a file.<br />
<br />
|- valign="top"<br />
| {{anchor|f_option}}<b>=f</b> || Fill pages to the bottom by proportionally stretching all spacings. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|F_option}}<b>=F</b> || Fill pages to the bottom by adding to the intersystem space only. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|g_option}}<b>=g</b><#>|| Grand staff intra-space measured in multiples of ledger lines times 10. The default is 100, which is 10 ledger lines. Note that this distance reference is different from the =v values which define the distance from the top of one staff to the top of the next staff. For the =g, option, the distance is from the bottom of the top staff to the top of the bottom staff.<br />
<br />
|- valign="top"<br />
| {{anchor|G_option}}<b>=G</b>^group-name^ || Group name to process. The default is "score". Available groups are found on data line 11 at the top of each MuseData [[stage2]] file (excluding any single- or multi-line comments). Other possibilities might be "part" or "data".<br />
<br />
|- valign="top"<br />
| {{anchor|h_option}}<b>=h</b><#> || Alter the minimum allowed space between notes. This is measured as a percentage of the default. 100 = no change (100%).<br />
<br />
|- valign="top"<br />
|{{anchor|i_option}}<b>=i</b><#> || Initial system indentation options flag.<br />
* 0 = use program defaults (set indentation with <tt>=I</tt> option).<br />
* 1 = no indentation of first system of music<br />
* 2 = indent first system, and after every forced system break.<br />
<br />
|- valign="top"<br />
| {{anchor|I_option}}<b>=I</b><#> || Specify the indentation amount for the first system in the music. If zero, then default indentation amount will be used. (see the <tt>=i</tt> option for turning off indentation).<br />
<br />
|- valign="top"<br />
|{{anchor|j_option}}<b>=j</b> || Right-justify the last system of the music so that it extends all of the way across the page. The default is NOT to right justify. Right-justification is a recursive process where measures from previous systems may be moved ahead in the score to cause all systems to have approximately the same note density.<br />
<br />
|- valign="top"<br />
| {{anchor|k_option}}<b>=k</b>^0x<tt>#</tt>^ || Display alternative options. Options are stored in a hexadecimal number prefixed with the string "<tt>0x</tt>" (C program-styled hex number). The default values are the 0 bit settings. The meaning of the bits in the hexadecimal number are (from least significant to most significant bit):<br />
<br />
<table cellpadding=0 cellspacing=0><br />
<tr valign=baseline><th>bit</th><td width=10></td><th>meaning</th></tr><br />
<br />
<tr valign=baseline><td>0</td><td></td><td><br />
<b>k-option activation flag</b><br />
* 1: <i>k</i> option is active, read options in more significant bits.<br />
* 0: <i>k</i> option is inactive. Used to turn off this option as a command-line over-ride.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>1</td><td></td><td><br />
<b>Sforzando/rfz flag</b><br />
* 0: display sforzando as sf (rf)<br />
* 1: display sforzando as sfz (rfz)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>2</td><td></td><td><br />
<b>Sub-edit flag</b><br />
* 0: diplay editorial markup differently from regular data (such as adding brackets around editorial elements).<br />
* 1: do not display editorial data differently from regular data.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>3</td><td></td><td><br />
<b>No-editorial flag</b><br />
* 0: display editorial markup data.<br />
* 1: do not display editorial markup data.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>4</td><td></td><td><br />
<b> Editorial markup in Roman font flag</b><br />
* 0: use cue-size music fonts for editorial marks.<br />
* 1: use Times-Roan font for editorial marks: tr, dynamics<br />
</td></tr><br />
<br />
<tr valign=baseline><td>5</td><td></td><td><br />
<b>Ligature flag</b><br />
* 0: do not use ligatures in text.<br />
* 1: use ligatures for "ffl", "ffi", "ff", "fl", and "fi".<br />
</td></tr><br />
<br />
<tr valign=baseline><td>6</td><td></td><td><br />
<b>figured harmony flag</b><br />
* 0: place figured harmony (figured bass) below the staff.<br />
* 1: place figured harmony (figured bass) above the staff.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>7</td><td></td><td><br />
<b> mheavy4 barline style flag</b><br />
* 0: mheavy4 barline represented by two heavy lines.<br />
* 1: mheavy4 barline represented by one thin, one thick, and then another thin line.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>8</td><td></td><td><br />
<b>Multi-voice augmentation dot option</b><br />
* 0: allow overstrike of dots in different voices.<br />
* 1: do now allow overstrike<br />
</td></tr><br />
<br />
<tr valign=baseline><td>9</td><td></td><td><br />
<b>New key signatures option</b><br />
* 0: don't print a new key signature if it is the same as the previous one on the staff.<br />
* 1: print a new key signature even if it repeats the previous key signature on the staff.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>10</td><td></td><td><br />
<b>Mixed rhythm chords</b><br />
* 0: Don't allow a mixture of white and black notes in chords.<br />
* 1: Allow mixture of white and black notes in chords.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>11</td><td></td><td><br />
<b>Suppress key signature flag </b><br />
* 0: display key signatures<br />
* 1: suppress printing of the key signature (such as for timpani parts).<br />
</td></tr><br />
<br />
<tr valign=baseline><td>12</td><td></td><td><br />
<b>Editorial slurs flag</b><br />
* 0: all slurs are regular.<br />
* 1: <tt>{ }</tt> amd <tt>z x</tt> slurs are editorial slurs (dashed slurs).<br />
</td></tr><br />
<br />
<tr valign=baseline><td>13</td><td></td><td><br />
<b>New clef sign flag </b><br />
* 0: Large clefs at start of system, cue-size clefs for clef changes.<br />
* 1: Always use large clefs.<br />
</td></tr><br />
<br />
</table><br />
<br />
|- valign="top"<br />
| {{anchor|l_option}}<b>=l</b><#>|| Length of a page. Distance is measured dots, at 300 dots to the inch. Default is 2740 dots. The default starting height is 120 dots. This will not be lowered, but may be raised to accommodate a longer page.<br />
<br />
|- valign="top"<br />
| {{anchor|m_option}}<b>=m</b><#> || Left margin, measured in at 300 dots/inch. The default is 200 dots<br />
<br />
|- valign="top"<br />
| {{anchor|M_option}}<b>=M</b> || include the contents of the MuseData source files in the Trailer section of the file embedded in PostScript comments (if MuseData [[stage2]] files are used as input.<br />
<br />
|- valign="top"<br />
| {{anchor|n_option}}<b>=n</b><#> || Maximum number of systems on a page. The default is no maximum.<br />
<br />
|- valign="top"<br />
| {{anchor|p_option}}<b>=p</b> || The source is a concatenated set of page specific i-files (also called .mpg files), not a set of MuseData files.<br />
<br />
|- valign="top"<br />
| {{anchor|P_option}}<b>=P</b> || include listings of the page specific i-files, which are the source of the output PostScript data. Each page is separated<br />
<br />
|- valign="top"<br />
| {{anchor|Q_option}}<b>=Q</b><#> || Duration which is assigned the minimum distance<br />
1 = whole notes<br />
... . . .<br />
8 = eighth notes<br />
16 = sixteenth notes, etc<br />
<br />
|- valign="top"<br />
| {{anchor|s_option}}<b>=s</b>^string^ || Custom left-hand spine. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=s^[(....)][(..)](.)[({..}..)]^<br />
Each dot in the system bracketing string represents one part, with the first dot in the string representing the top staff of the system. If a grand-staff is used for any part, then use the colon character (:) for that part. Staves which should be bracketed together are enclosed in square brackets: <tt>[]</tt>. Staves which should be braced together are enclosed in curly braces: <tt>{}</tt>. Staves which should be barred together (barlines connecting between staves) are enclosed in parentheses: <tt>()</tt>. The caret character (^) is used to mark the start and top of the option string. Subsequent options occur immediately after the second caret character with no intervening space.<br />
<br />
|- valign="top"<br />
| {{anchor|S_option}}<b>=S</b><#> || Add extra space between the title and the first system of music: 0 = use default, >0 = lower the first system (units are 1/300th of an inch).<br />
<br />
|- valign="top"<br />
|{{anchor|t_option}}<b>=t</b><#> || Top of page. Default is 120 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|T_option}}<b>=T</b>^string^ || Display the ''string'' as a title at the top of the (first) page. See <b>=u</b> for sub-title, and <b>=C</b> for composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|u_option}}<b>=u</b>^string^ || Display the ''string'' as a sub-title at the top of the (first) page. See <b>=T</b> for the title, and <b>=C</b> for the composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|v_option}}<b>=v</b><#,#,#...#> || Custom spacings. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=v192,192,192,208,192,208,176,176,176,200<br />
The above example setting for the =v option can be used for a system with 8 parts (such as 4 woodwinds, 2 horns, and 4 string instruments). The first seven values describe the spacing between each staff in the system, and the last value is the spacing between systems on the page. The spacing between staves and systems is constant with muse2ps. The spacing values are 1/10th of the distance between two staff lines, and the spacing value is the distance from the top of one staff to the top of the next staff (or the top of the last staff on a system to the top of the staff on the next system for the last value in the list). See the <tt>=g</tt> option for spacing the staves of a grand staff (such as for piano music). When a grand staff is part of a system with more parts, then the distance between the grand staff and the next system is the distance between the top of the bottom staff of the grand-staff pair and the top of the next staff.<br />
<br />
|- valign="top"<br />
| {{anchor|w_option}}<b>=w</b><#> || System width, measured in at 300 dots/inch. The default is 2050 dots<br />
<br />
|- valign="top"<br />
| {{anchor|W_option}}<b>=W</b>[#] || Thin barline flag. 0 = use regular barlines. 1 = use thin barlines. No number after <tt>=W</tt> means the same as <tt>=W0</tt>.<br />
<br />
|- valign="top"<br />
| {{anchor|x_option}}<b>=x</b> || Defeat all part inclusion suggestions in the data<br />
<br />
|- valign="top"<br />
| {{anchor|X_option}}<b>=X</b>[#] || Leave off the last barline (for short examples). 0 = print last bar, 1 = don't print last bar, <tt>=X</tt> without a number is equivalent to <tt>=X1</tt>. Note: you can add extra staff line space in the last bar by putting in <tt>irest</tt>s, but you must put <tt>irest</tt>s in all parts ,and they must all represent the same note type (duration). Note also: If the last bar line is anything but a regular measure line, it will continue to print.<br />
<br />
|- valign="top"<br />
|{{anchor|y_option}}<b>=y</b> || Defeat all line control suggestions in the data<br />
<br />
|- valign="top"<br />
|{{anchor|Y_option}}<b>=Y</b><#> || Suppress printing first time signature in score. Used for printing small examples which have a time signature in the data, but none desired in graphical notation. You can also use a time signature in the data of "<tt>T:9/0</tt>" to generate a <i>hidden</i> time signature, and not giving a time signature at the start of a file will result in not time signature being printed. 0 = print initial time signatures (used to override options embedded in data). 1 = suppress first time signature (<tt>=Y</tt> is equivalent to <tt>=Y1</tt>).<br />
<br />
|- valign="top"<br />
| {{anchor|z_option}}<b>=z</b><#> || Music size: choices are 6,14,16,18,21. 14 is the default. This value describes the distance between staff lines in units of 300 dots per inch.<br />
<br />
|}<br />
<br />
== Multi-file input specification ==<br />
<br />
Normally individual MuseData [[stage2]] files contain a single part. These part files are concatenated together and sent via standard input into the muse2ps program. In order for the muse2ps program to be able to segment the separate part files from the original stream the marked "<tt>/eof</tt>" is added after the last line in each file, and the marker "<tt>//</tt>" is ''required'' after the end of all datafile input into muse2ps. <br />
<br />
Typically the last line of a [[stage2]] MuseData file consists of the string "<tt>/END</tt>" (in uppercase), so add the line "<tt>/eof</tt>" (in lowercase) after it: <br />
/END<br />
/eof<br />
<br />
The very last three lines of input to muse2ps should should look like this:<br />
<br />
/END<br />
/eof<br />
//<br />
<br />
If you specify the =E option when running muse2ps, the "<tt>/END</tt>" markers will be used to segment the separate part files internally.<br />
<br />
The PERL script [[Media:collatemd2.pl|collatemd2]] (included with the source code to muse2ps) can be used to concatenate multiple [[stage2]] part files into a single input stream for muse2ps. The output of the PERL script can be saved to a file for later processing with muse2ps. In this case the recommended file extension for the multi-file MuseData content is <b>.md2</b> . Here are example uses of [[Media:collatemd2.pl|collatemd2]]:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
You many have to type "<tt>./collatemd2</tt>" instead of "<tt>collatemd2</tt>" if the perl program is in the current directory and the current directory is not in the command search path. If you download the program from this page, remove the .pl extension when saving (and use a lower-case first letter for the filename). You may have to set the permissions to allow it to be run as a program with the unix command: <tt>chmod 0755 collatemd2</tt>.<br />
<br />
Alternatively, you can save the output from [[Media:collatemd2.pl|collatemd2]] into a file for later use with muse2ps:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] > [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]]<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
When downloading MuseData [[stage2]] files from http://www.musedata.org , the parts are all combined into a single multi-file MuseData file which is the equivalent to the output from [[Media:collatemd2.pl|collatemd2]].<br />
<br />
=== Multiple Music Page files ===<br />
<br />
When concatenating multiple Music Page (MPG) files, separate each file's content with a line with the single capital letter "P" on it. Example of how to do this on the command line, creating a PDF file:<br />
<br />
<source lang="bash"><br />
for i in ??<br />
do<br />
cat $i<br />
echo P<br />
done | muse2ps =p | ps2pdf - - > output.pdf<br />
</source><br />
<br />
N.B.: Probably two slashes also need to be added at the end of the last page; otherwise, it will not print:<br />
<br />
//<br />
<br />
== Color highlighting ==<br />
<br />
A soon-to-be released update of muse2ps will allow for coloring of notes in the score. This colorization can be used in conjunction with displaying search results, or highlighting notes in an example. <br />
<br />
If you place an "R" character in column 14 for note (or rest) records, That note will be highlighted red. A capital "R" will also highlight the stem of the note, while a lower case "r" will color only the notehead. If multiple colored notes all share a common beam, then that beam is also highlighted.<br />
<br />
The letter "B" can be used in column 14 to color notes blue, and the letter "G" can be used to color notes green. The lowercase versions "r" and "g" can be used to color only the noteheads and not the stems.<br />
<br />
== Embedded options ==<br />
<br />
The <i>muse2ps</i> program can read options sent in the input data stream. Options can be embedded in the input data as single-line comments. In [[stage2]] files, single-line comments start with an at-sign (<tt>@</tt>) in the first column of the line. Following the comment marker comes an option identification string "<tt>muse2psv1</tt>", with "<tt>v1</tt>" being the option version level (currently level 1, and can be used in the future to keep options backwards and forwards compatible. Default options, listed in the previous section describing the options, can be overridden by using the default option setting method which adds two equal signs in a row, followed by any options. Multiple default option <br />
comments may occur to prevent the length of the line from getting too long (it is a good idea to limit the length of the line for full backwards compatibility with dmuse and [[stage2]] files, although the current line limit in dmuse/muse2ps is 900 characters).<br />
<br />
Option for specific music sizes can be set by placing the size option between the two equals signs in the option comment. Here is an example option comment header:<br />
<br />
@muse2psv1==z18<br />
@muse2psv1==T^Bach Chorale^u^bwv-277^C^J.S. Bach (1685-1750)^<br />
@muse2psv1=z14=v200,155,155,155j<br />
@muse2psv1=z18=v240,195,195,195j<br />
@muse2psv1=z21=v300,230,230,230j<br />
<br />
The first two lines are default option settings for all music sizes. The first line sets the default music size to 18 if no size is given on the command line to muse2ps. The second line sets the title, subtitle, and composer fields on the title page. The last three lines set the vertical spacing between staves at various music sizes; the first for size 14, then size 18, and the last line for size 21.<br />
<br />
== ps2pdf options ==<br />
<br />
The default behavior of the ps2pdf program is to assume that the input data is formatted for A4 paper. The default output size for muse2ps is US letter. In order for ps2pdf to generate output pages with the correct dimensions, add the option <tt>-sPAPERSIZE=letter</tt> as an argument to the program:<br />
ps2pdf -sPAPERSIZE=letter<br />
<br />
Another pair of useful options (not needed for output from muse2ps, but useful when adding footers at later states in data program) embed the fonts used in the file:<br />
ps2pdf -sPAPERSIZE=letter -dCompatibilityLevel=1.4 -dPDFSETTINGS=/prepress<br />
<br />
For example the Symbol font is not present on the Apple iPad PDF viewer. When using the options in this example, the Symbol font (or the portion used) would be embedded in the file and therefore viewable on an iPad.<br />
<br />
== Creating images ==<br />
<br />
Graphical images can be created in various ways. A good method is to convert PostScript output from muse2ps to a bitmap image with the unix command-line program pstopnm. For smaller examples and converting to other images formtas, Imagemagick's convert is another command-line which is useful. Both pstopnm and convert are often pre-installed on linux computers, and both are available for free on the internet. They should also work with OS X, and can be used in MS Windows using [http://www.cygwin.com cygwin].<br />
<br />
To create an image pipe the output from muse2ps into pstopnm, and convert to a bitmapped image at 300 dots per inch. Next pipe the resulting image to convert for further processing. In the following example, the image is first trimmed from a full page to just the area which contains the printed music, then the image is resized to 33% of the original size for use on the web, and saved into a PNG file.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -resize '33%' [[Media:scale.png|scale.png]]<br />
<br />
=== Transparent background ===<br />
<br />
Use the options <tt>-negate -alpha copy -negate</tt> to make the background of the image transparent so that it can be displayed on any background color. Here is the example image which was just created with the above command:<br />
<br />
[[Image:scale.png]]<br />
<br />
Notice that the background color of the image is white, which becomes noticeable when placing the image on a non-white background color. Now create an image with a transparent background:<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -negate -alpha copy -negate \<br />
-resize '33%' [[Media:scale-transparent.png|scale.png]]<br />
<center><br />
<table cellspacing=0 cellpadding=3><tr bgcolor=#ffffff><td bgcolor=#4499aa><br />
[[Image:scale-transparent.png]]<br />
</td><td width=10><br />
<td bgcolor=#ffaa44>[[Image:scale-transparent.png]]<br />
</td></tr></table></center><br />
<br />
<br />
=== Images for printed publications ===<br />
<br />
To insert musical examples in a Microsoft or similar word processing program, do not resize the image, but leave it at the 300 dots per inch size of the original. Then you can rescale the image in the word processor as necessary. This will optimize the quality of the image in the final printout from the word processor.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim [[Media:scale-large.png|scale.png]]<br />
<br />
== Humdrum interface ==<br />
<br />
The muse2ps program can be used in conjunction with the [http://extra.humdrum.org/man/hum2muse hum2muse] program. Here is an example of how to create graphical music notation using the following Humdrum data as an example:<br />
<br />
<table cellspacing=0><tr bgcolor=white valign=top><td><htmlet>beethoven-kern</htmlet></td><br />
<td width=10></td><br />
<td> <br />
<pre><br />
hum2muse file.krn | muse2ps \<br />
| ps2pdf - - > file.png<br />
</pre><br />
[[Image:beethoven-kern.png]] <br />
<br><br />
<br><br />
<br><br />
</td><br />
</tr><br />
</table><br />
<br />
Images can be generated from Humdrum data online by pasting/typing data into the [http://kern.humdrum.org/cgi-bin/kern/kseditor Humdrum online editor]. For example, copy and paste the above Humdrum data into the left black box on the Humdrum online editor page, and the click on the red "Generate" button to produce an image of the graphical music using the default settings.<br />
<br />
Here is the intermediate MuseData which is passed between [http://extra.humdrum.org/man/hum2muse hum2muse] and muse2ps: [[Media:beethoven-kern.md2 | beethoven.md2]]. Try copying / pasting<br />
this data into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in the same music notation as seen above.<br />
<br />
== Zbex programs ==<br />
<br />
In the muse2ps source code directory, the sub-directory <tt>zprogs</tt> contains the [[zbex]] programs used to generate the file zfun32.c. Most necessary files needed to create [http://www.ccarh.org/software/muse2ps/muse2ps/zfun32.c zfun32.c] are in that directory, but perhaps not all of them. These programs are not used directly by muse2ps, but are compiled into zbex executable code within zfun32.c. The muse2ps is essentially a non-interactive version of [[dmuse]] (see http://dmuse.ccarh.org). The [[dmuse]] program is a text editor which also has a built-in [[zbex]] language interpreter and graphical music display capabilities. The interpreter portion of [[dmuse]] has been extracted for non-interactive use in muse2ps.<br />
<br />
== Examples == <br />
<br />
Further examples of MuseData [[stage2]] files converted into graphical music notation with muse2ps can be found on the [[MuseData examples]] page.<br />
<br />
== Feature requests and bug reports ==<br />
<br />
See the page: [[Muse2ps feature requests and bug reports]].</div>Edchttps://wiki.ccarh.org/index.php?title=Muse2ps&diff=10495Muse2ps2021-03-30T14:13:58Z<p>Edc: /* Command-line examples */</p>
<hr />
<div>__TOC__<br />
<br />
== Overview == <br />
<br />
The <b>muse2ps</b> program is a command-line version of the [[autoset]], [[mskpage]] and [[pspage]] programs which are usually run within the [[dmuse]] editor using the built-in [[zbex language]] interpreter. The ''muse2ps'' program reads MuseData [[stage2]] data or [[page file]] data from standard input and converts them into PostScript data representing graphical musical notation which is sent to standard output. The following diagram illustrates the flow of data through ''muse2ps'':<br />
<br />
<br />
<center><br />
[[File:muse2ps-dataflow.svg]]<br />
</center><br />
<br />
The ''muse2ps'' program can accept two forms of input. By default, the ''muse2ps'' program will read multi-file [[stage2]] data from standard input. MuseData [[stage2]] files contain primarily symbolic musical data with possibly a little bit of formatting information (such as system and page breaks). The ''muse2ps'' program will format this symbolic music internally into [[page files]] which give explicit information about the placement of notes, slurs, beams, dynamics, lyrics, ''etc.'' on each page of music.<br />
<br />
Alternatively, if the <tt>=p</tt> option is given as an [[argument]] to ''muse2ps'', the program can read multi-file [[page files]] directly from standard input. Typically, [[stage2]] files are converted automatically into [[pages files]] and then further processing is done on these [[page files]] in order to produce a final typeset score of the graphical music notation. For example, the [[vskpage]] is used to refine the vertical spacing of staves and systems on a page of music within [[page files]], and [[eskpage]] is used to interactively edit the position of graphical elements within [[page files]].<br />
<br />
The only output from ''muse2ps'' (besides error messages) is PostScript data which describes the graphical music notation in a printable score of the music. This data can be further processed, such as sending directly to a PostScript printer, or converting into PDF files for web distrubution of the notated music. The representation of music notation within the PostScript file is in the form of bit-mapped musical fonts. The musical fonts are designed for use with 300 DPI resolution printers when printed at the native resolution (originally these fonts were designed for [http://en.wikipedia.org/wiki/Printer_Command_Language PCL-based printers]). These fonts have the unique feature of [http://en.wikipedia.org/wiki/Dither dithered] edges on sloped beams to minimize the visual effect of pixel stepping at 300 DPI resolution. Minor notation editing can be done on the PostScript/PDF files in programs such as Adobe Illustrator. If you print via PDF files, you may want to uncheck the page-scaling option in the printing program in order to avoid aliasing artifacts in the hard copy due to changing the intended size of the music on the page. <br />
<br />
Two other forms of data can be embedded within the PostScript output. If the <tt>=M</tt> option is given as an [[argument]] to the ''muse2ps'' program, then the original [[stage2]] data will be stored within comments in the PostScript data. Likewise, if the <tt>=P</tt> option is given, the [[page file]] data will be included in the PostScript output as comments. The [[page file]] data will either come from automatic generation using [[autoset]]/[[mskpage]], or from standard input if you use the <tt>=p</tt> option.<br />
<br />
There are also numerous options which primarily deal with the formatting of [[stage2]] files with the [[autoset]] and [[mskpage]] program components. See the [[#Options| options]] section below for a complete list of the options.<br />
<br />
== Download ==<br />
<br />
The ''muse2ps'' program executables for various operating systems or the source code can be downloaded from the following table. <b>Instructions for setting up the program for use can be found ''[[Muse2ps_installation_instructions| here]]''.</b><br />
<br />
<br />
<center><br />
{{muse2psdownloadtable}}<br />
</center><br />
<br />
== Online ==<br />
<br />
The ''muse2ps'' program can be run online at http://www.musedata.org/mdconverter . If you click on [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icons next to data found on the http://www.musedata.org website, the musical data will be loaded into this online converter from which PostScript, PDF, or PNG images of the music can be generated. <br />
<br />
For example, click on the [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icon on the information page for this [http://www.musedata.org/encodings/bach/bg/chorals/0428/ Bach chorale], then click on the {{keypress|Submit}} button on the converter page to generate a PDF file of the chorale with the default settings. Then try setting some options, such as using "<tt>[(.)(.)(.)(.)]</tt>" for the <b>System spine</b> option to prevent barlines from being drawn between staves in the score.<br />
<br />
You can create your own MuseData content and print with the online converter as well. Copy and paste the following MuseData content: [[Media:beethoven-kern.md2 | beethoven.md2]] into into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in this graphical music notation:<br />
<center><br />
[[Image:beethoven-kern.png]]<br />
</center><br />
<br />
== Command-line examples ==<br />
<br />
The simplest use of ''muse2ps'' is to send it MuseData [[stage2]] files as standard input, and save standard output from the program into a PostScript file:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps > [[Media:bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
<br />
You may need to use "<tt>./muse2ps</tt>" instead of "<tt>muse2ps</tt>" in the above command if the ''muse2ps'' program file is in the current directory, but the current directory is not in your [http://en.wikipedia.org/wiki/PATH_%28variable%29 command search path]. The PostScript output can then be further processed in an external program. Usually it is more convenient to work with the data as a PDF file. The process of converting PostScript to PDF can be done by many methods. For example, Acrobat Distiller or Acrobat Professional will convert PostScript files into PDF files. There are online converters, such as this one: http://www.ps2pdf.com/convert.htm . And on most linux computers you can convert PostScript into PDF files using the [http://pages.cs.wisc.edu/~ghost/doc/gnu/5.50/Ps2pdf.htm ps2pdf] command:<br />
ps2pdf [[Media:Bach-wtc1p01.ps|bach-wtc1p01.ps]]<br />
This will create the file [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]] (replacing the .ps extension with a .pdf extention automatically when saving the PDF file). If you click on the PDF file link in the previous sentence, you should see the musical notation for J.S. Bach's Well-Tempered Clavier, Book I, Prelude 1 in C major.<br />
<br />
An alternate method of using ps2pdf to generate a PDF file in a single step in conjunction with ''muse2ps'' would be with this command-line construction:<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps | ps2pdf - > [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]]<br />
<br />
=== Last system justification ===<br />
<br />
By default ''muse2ps'' does not right-justify the last system of the music on the last page of the output (as can be seen in [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]]). If you<br />
want to justify the last system, use the <tt>=j</tt> option as an argument to ''muse2ps'':<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =j | ps2pdf - > [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]<br />
The ''muse2ps'' (or more precisely, the internal [[mskpage]] component) will possibly adjust line breaks on one or more of the previous systems in the score in order to fill enough music onto the last system, and then stretch or contract the music on the last system to fit the width between margins exactly. The <tt>=j</tt> option can potentially take significantly more time to process the input data then when it is omitted. The reason for the increased processing time can be seen by comparing [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]] and [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]. In order to right-justify the last system of the music, all systems in the music were recursively re-typeset so that the first system in the music contains only three measures instead of four.<br />
<br />
=== Grand-Staff vertical spacing ===<br />
<br />
The distance between staves in the grand staff (which is used for instruments such as the piano) can be controlled by the =g option. An integer number follows after the letter "g" in the option which specifies the distance between the two staves in terms of 1/10ths of the distance between staff lines. The default value for this option is =g100 which means that the distance between the top line of each staff is 10 staff lines.<br />
<br />
Here is an example of reducing the spacing between the staves to nothing. The =g50 option in this case means that the distance between the top of each staff is 5 staff lines. And since this is the height of a single staff, there will be no space between the two staves:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =g50 | ps2pdf - > [[Media:bach-wtc1p01-g50.pdf|bach-wtc1p01-g50.pdf]]<br />
<br />
<br />
=== Single-staff spacing in a system ===<br />
<br />
A ''system'' is a collection of staves which represent different instruments playing at the same time. The distance between these staves can be controlled with the =v option. Following =v is a list of comma-separated integers (with no intervening spaces). The unit for these numbers is the same as in the =g option: 1/10th of the distance between successive staff lines.<br />
<br />
The default spacing between staves will depend on whether they are supposed to be barred together or not. Here is the default spacing for four staves of a string quartet:<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
=== Using multiple options ===<br />
<br />
In the previous examples, the prelude is printed on two pages, with a single orphan system occurring on the second page. One way to force the music to fit onto a single page is to set the top margin from 120 pixels to 0 pixels with the option <tt>=t0</tt> and the printable length on the page to 3000 pixels (10 inches) with the option <tt>=l3000</tt>. When supplying multiple optional settings to muse2ps, there is only one option string which starts with the equals character (<tt>=</tt>) and is followed by all options with no spaces. Here is an example of using the <tt>=t0</tt>, <tt>=l3000</tt> and <tt>=j</tt> options at the same time, resulting in a single page of music:<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =jt0l3000 | ps2pdf - > [[Media:bach-wtc1p01-jt0l3000.pdf|bach-wtc1p01-jt0l3000.pdf]]<br />
The order of the options in the option string is not important, so for example, "<tt>=l3000t0j</tt>" would yield the same results as "<tt>=jt0l3000</tt>".<br />
<br />
Instead of adjusting the vertical margins with the <tt>=t</tt> and <tt>=l</tt> options, you can also decrease the spacing between staves globally on the system. To do this, use the =v option followed by a list of distances between each staff on the system. In this example there are two staves in each system, so one value is expected after "=v". If there were three or more staves, then the vertical spacing values are separated by commas (and no spaces).<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =v160jt300 | ps2pdf - > [[Media:bach-wtc1p01-v160jt300.pdf|bach-wtc1p01-v160jt300.pdf]]<br />
<br />
In the above example, "<tt>=v160</tt>" means make the spacing between staves on the system slightly more than 1/2 and inch; "<tt>=j</tt>" means to right-justify the last system of music; and "<tt>t300</tt>" Means add an extra inch to the top margin (the default setting is "<tt>=t120</tt>".<br />
<br />
=== Music size ===<br />
<br />
The ''muse2ps'' program can typeset music in several sizes: 6, 14, 16, 18 and 21. These numbers refer to the pixel count (at 300 DPI) between successive staff lines. For example, here is a zoom-in of music typeset using the size 6 font, where each staff line is one pixel wide, and there are 5 pixels in the gap between lines, making each staff line spaced every 6 pixels and hence the name "size 6":<br />
<br />
<center><br />
[[File:Dmuse-size6.png|411px]]<br />
</center><br />
<br />
<br />
The default size that ''muse2ps'' will typeset music in is size 14. To display the music at other sizes, use the <tt>=z</tt> option followed by the size. Here is the example prelude printed in all sizes (with right-justification of the last system using <tt>=j</tt> also added to the option string):<br />
<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z6j&nbsp;&nbsp;| ps2pdf - > [[Media:bach-wtc1p01-z6j.pdf|bach-wtc1p01-z6j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z14j | ps2pdf - > [[Media:bach-wtc1p01-z14j.pdf|bach-wtc1p01-z14j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z16j | ps2pdf - > [[Media:bach-wtc1p01-z16j.pdf|bach-wtc1p01-z16j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z18j | ps2pdf - > [[Media:bach-wtc1p01-z18j.pdf|bach-wtc1p01-z18j.pdf]]<br />
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z21j | ps2pdf - > [[Media:bach-wtc1p01-z21j.pdf|bach-wtc1p01-z21j.pdf]]<br />
<br />
Full-scores are typically printed at size 14 (particularly scores with many parts). Parts for performers are typically printed at sizes 18 or 21. Piano music is typically printed at size 16, and Size 18 has dither on two-pixel wide staff lines. The approximate equivalents to point sizes in regular text (multiplying by the factor 72/300 and then multiplying by 3):<br />
<br />
<center><br />
{| class="wikitable" cellpadding="0" cellspacing="0" border="0"<br />
|- |- {{Style|table header}}<br />
! scope="col" align="left" | MuseData music size<br />
! scope="col" align="left" | Staff height (mm)<br />
! score="col" align="left" | Approximate text font size<br />
! score="col" align="left" | Musical application<br />
|-<br />
| 6 || 2.03 mm || 4 pt || none<br />
|-<br />
| 14 || 4.74 mm || 10 pt || full scores<br />
|-<br />
| 16 || 5.42 mm || 11.5 pt || piano music, vocal scores<br />
|-<br />
| 18 || 6.10 mm || 13 pt || instrumental parts<br />
|-<br />
| 21 || 7.11 mm || 15 pt || large-size instrumental parts<br />
|}<br />
</center><br />
<br />
=== Extracting MPG intermediate data ===<br />
<br />
When a MuseData [[stage2]] file is converted into graphical music notation as PostScript output from ''muse2ps'', it will pass through two data transformation steps. The first step is a conversion from [[stage2]] data into non-page-specific [[i-files]] which is accomplished with the [[autoset]] component. Then these "non-page-specific" [[i-files]] are converted into "page-specific" [[page files|i-files]] (or Music Page (MPG) files) which describe the precise position of musical elements on each page of typeset music. This [[music page]] data can be extracted from the program surreptitiously by using the "=P" option. This will cause the [[MPG]] data to be embedded in comments within the PostScript output. Each page of MPG data will be stored in a sequence of comments starting with "<tt>%=BeginMPGData: 1</tt>", where <tt>1</tt> is the data for page one. And each page of MPG data is ended by the comment <tt>"%=EndMPGData: 1"</tt>.<br />
<br />
All MuseData/dmuse related comments in the PostScript output start with the comment marker "%=", so the MPG data can easily be separated from the PostScript content and other irrelevant comments in a manner such as this:<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =P | grep "^%=" > [[Media:Mpg-comments.txt|mpg-comments.txt]]<br />
The [[regular expression]] search string "<tt>^%=</tt>" used in the [http://en.wikipedia.org/wiki/Grep grep] command means extract lines from the input which start with the two characters "<tt>%=</tt>".<br />
<br />
A PERL utility program, called [[Media:unpackmpg.pl|unpackmpg]], for extracting the MPG data from the comments is included with the source code for ''muse2ps'':<br />
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =Pg85jt200l3000 | [[Media:unpackmpg.pl|unpackmpg]] > [[Media:Mpg-comments.mpg|mpg-comments.mpg]]<br />
In the above command the options mean:<br />
* <tt>=P</tt>: Output [[music page]] data<br />
* <tt>=g85</tt>: Set the distance between the staves in the grand staff to 8.5 staff lines (default is 100, or 10 staff lines).<br />
* <tt>=j</tt>: Right-justify the last system of the music.<br />
* <tt>=t200</tt>: Set the top margin to 2/3 of a inch below the base position.<br />
* <tt>=l3000</tt>: Set the vertical printable region to 10 inches.<br />
<br />
=== Inputting MPG data (adding a title) ===<br />
<br />
The extracted [[music page]] data from the previous section can be edited (such as to add a title) and then can be reprocessed by ''muse2ps'' to generate PostScript output:<br />
cat [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] | muse2ps =p | ps2pdf - > [[Media:Bach-wtc1p01-title.pdf|bach-wtc1p01-title.pdf]]<br />
<br />
In this case the file [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] is the equivalent to the MPG data generated by ''muse2ps'' in the previous section: [[Media:Mpg-comments.mpg|mpg-comments.mpg]], but with these three lines added to generate a title for the first page:<br />
<br />
<pre><br />
X 14<br />
X 46 1200C 0 Well-tempered Clavier, Book I, prelude 1 in C major<br />
X 37 1200C 50 BWV 846<br />
</pre><br />
<br />
The first line sets the font indexes relative to music size 14. The second line places the line at "1200C 0" which means center the line horizontally at location 1200 (4 inches from the left margin), and position the line vertically at position 0 (0 inches below the top margin).<br />
<br />
[[Music page]] data for many of the score on http://www.musedata.org are available as both [[stage2]] files and [[music page]] files. Using the [[music page]] files as input to ''muse2ps'' will generate better graphical notation results, since the automatically typeset data from the [[stage2]] files has been proofread and adjusted by a human.<br />
<br />
== Options ==<br />
<br />
Below is a list of the options which muse2ps understands. Options are given<br />
as the first (and only) argument to the program, staring with an equals sign (=), then followed by the options in any order, with no spaces between the options. For example, to set the music size to 18 and right-justify the last system on the last page, use the option string =z21j:<br />
cat file.md2 | muse2ps =z21j > file.ps<br />
When using characters which my be parsed by the command-line interpreter, you will have to enclose the option string in single quotes (you can do this all of the time if you are uncertain of the conditions in which they would be required):<br />
cat file.md2 | muse2ps '=z21js^{(..}}^T^title^' | ps2pdf - > file.pdf<br />
<br />
In option strings such as "=c<#>", replace <#> with an integer. <tt>[#]</tt> indicates an optional number.<br />
<br />
{|class="wikitable" cellpadding="0" cellspacing="0" border="0" style="width:100%"<br />
|- {{Style|table header}}<br />
! scope="col" width="100px" align="center"| muse2ps option index<br />
|-<br />
| <div style="column-count:3;-moz-column-count:3;-webkit-column-count:3"><br />
* {{nowrap|{{mopt|c}} compression}}<br />
* {{nowrap|{{mopt|C}} composer}}<br />
* {{nowrap|{{mopt|d}} diagnostics}}<br />
* {{nowrap|{{mopt|D}} dash spacing}}<br />
* {{nowrap|{{mopt|E}} eof insertion}}<br />
* {{nowrap|{{mopt|f}} fill by staff}}<br />
* {{nowrap|{{mopt|F}} fill by system}}<br />
* {{nowrap|{{mopt|g}} grand staff spacing}}<br />
* {{nowrap|{{mopt|G}} group selection}}<br />
* {{nowrap|{{mopt|h}} note space}}<br />
* {{nowrap|{{mopt|i}} indentation flag}}<br />
* {{nowrap|{{mopt|I}} indentation amount}}<br />
* {{nowrap|{{mopt|j}} justification}}<br />
* {{nowrap|{{mopt|k}} display options}}<br />
* {{nowrap|{{mopt|l}} page length}}<br />
* {{nowrap|{{mopt|m}} left margin}}<br />
* {{nowrap|{{mopt|M}} embed stage2 data}}<br />
* {{nowrap|{{mopt|n}} number of systems}}<br />
* {{nowrap|{{mopt|p}} page files input}}<br />
* {{nowrap|{{mopt|P}} embed page files}}<br />
* {{nowrap|{{mopt|Q}} min. dist. dur.}}<br />
* {{nowrap|{{mopt|s}} system spine}}<br />
* {{nowrap|{{mopt|S}} title/system space}}<br />
* {{nowrap|{{mopt|t}} top margin}}<br />
* {{nowrap|{{mopt|T}} title}}<br />
* {{nowrap|{{mopt|u}} subtitle}}<br />
* {{nowrap|{{mopt|v}} staff spacing}}<br />
* {{nowrap|{{mopt|w}} system width}}<br />
* {{nowrap|{{mopt|W}} thin barlines}}<br />
* {{nowrap|{{mopt|x}} no suggestions}}<br />
* {{nowrap|{{mopt|X}} no last barline}}<br />
* {{nowrap|{{mopt|y}} no line controls}}<br />
* {{nowrap|{{mopt|Y}} no initial time sig.}}<br />
* {{nowrap|{{mopt|z}} music size}}<br />
</div><br />
|}<br />
<br><br />
<br />
See also the Dmuse text file [[Media:muse2ps-options.dm | options.dm]], or the HTML equivalent [[Media:muse2ps-options.html| options.html]] for a brief description of each option.<br />
<br />
{| style="background-color:white" cellpadding="4"<br />
|- valign="top"<br />
| {{anchor|c_option}}<b>=c</b><#>|| Compression factor: This is measured as a percentage of the default. 100 = no compression (100%). Use smaller values to decrease the spacing between notes (allowing fewer pages in the score). Values larger than 100 will expand the distance between notes (increasing the number of pages in the score). This option is useful to force the last system of music to occur at the bottom of a page.<br />
<br />
|- valign="top"<br />
|{{anchor|C_option}}<b>=C</b>^string^ || Display the ''string'' as the composer's name at the top right side of the first page. See <b>=T</b> for the title, and <b>=u</b> for the sub-title. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|d_option}}<b>=d</b><#> || Diagnostics and Error Messages.<br />
bit 0 of #: ON = print error messages<br />
bit 1 of #: ON = print all diagnostics<br />
bit 2 of #: ON = print diagnostics from autoset<br />
bit 3 of #: ON = print diagnostics from mskpage<br />
bit 4 of #: ON = print diagnostics from pspage<br />
no number = 0x01: print error messages<br />
For example, =d31 turns on all error message toggles. This option is useful if the output PostScript data from muse2ps is empty. The messages go to standard error, while the PostScript data goes to standard output. Therefore, you can print the error messages and still save or pipe the PostScript data without the error messages mixing with the output data.<br />
<br />
|- valign="top"<br />
| {{anchor|D_option}}<b>=D</b> || spacing between dashes. Will over-ride spacing in stage2 files: 0 = use default, >0 = space between dashes (units are dash length)<br />
<br />
|- valign="top"<br />
| {{anchor|E_option}}<b>=E</b> || <tt>/END</tt> = <tt>/eof</tt>. The muse2ps program allows for multiple parts to be entered from standard input in a single stream of data. Normally the data files representing each part are separated from each other by a line containing only "<tt>/eof</tt>" (lowercase; meaning "End of File"). Separate MuseData [[stage2]] files do not typically end in "<tt>/eof</tt>", but rather, they are required to contain the line "<tt>/END</tt>" (uppercase) to indicate the end of the data. After "<tt>/END</tt>", any textual comments are allowed. With the =E option, you do not need to separate files by "<tt>/eof</tt>", and instead, the next file in the sequence will start on the line coming after "<tt>/END</tt>". Note, however, that you cannot use the =E option if there is any commentary after "<tt>/END</tt>" in a file.<br />
<br />
|- valign="top"<br />
| {{anchor|f_option}}<b>=f</b> || Fill pages to the bottom by proportionally stretching all spacings. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|F_option}}<b>=F</b> || Fill pages to the bottom by adding to the intersystem space only. Default is don't change the vertical spacings.<br />
<br />
|- valign="top"<br />
| {{anchor|g_option}}<b>=g</b><#>|| Grand staff intra-space measured in multiples of ledger lines times 10. The default is 100, which is 10 ledger lines. Note that this distance reference is different from the =v values which define the distance from the top of one staff to the top of the next staff. For the =g, option, the distance is from the bottom of the top staff to the top of the bottom staff.<br />
<br />
|- valign="top"<br />
| {{anchor|G_option}}<b>=G</b>^group-name^ || Group name to process. The default is "score". Available groups are found on data line 11 at the top of each MuseData [[stage2]] file (excluding any single- or multi-line comments). Other possibilities might be "part" or "data".<br />
<br />
|- valign="top"<br />
| {{anchor|h_option}}<b>=h</b><#> || Alter the minimum allowed space between notes. This is measured as a percentage of the default. 100 = no change (100%).<br />
<br />
|- valign="top"<br />
|{{anchor|i_option}}<b>=i</b><#> || Initial system indentation options flag.<br />
* 0 = use program defaults (set indentation with <tt>=I</tt> option).<br />
* 1 = no indentation of first system of music<br />
* 2 = indent first system, and after every forced system break.<br />
<br />
|- valign="top"<br />
| {{anchor|I_option}}<b>=I</b><#> || Specify the indentation amount for the first system in the music. If zero, then default indentation amount will be used. (see the <tt>=i</tt> option for turning off indentation).<br />
<br />
|- valign="top"<br />
|{{anchor|j_option}}<b>=j</b> || Right-justify the last system of the music so that it extends all of the way across the page. The default is NOT to right justify. Right-justification is a recursive process where measures from previous systems may be moved ahead in the score to cause all systems to have approximately the same note density.<br />
<br />
|- valign="top"<br />
| {{anchor|k_option}}<b>=k</b>^0x<tt>#</tt>^ || Display alternative options. Options are stored in a hexadecimal number prefixed with the string "<tt>0x</tt>" (C program-styled hex number). The default values are the 0 bit settings. The meaning of the bits in the hexadecimal number are (from least significant to most significant bit):<br />
<br />
<table cellpadding=0 cellspacing=0><br />
<tr valign=baseline><th>bit</th><td width=10></td><th>meaning</th></tr><br />
<br />
<tr valign=baseline><td>0</td><td></td><td><br />
<b>k-option activation flag</b><br />
* 1: <i>k</i> option is active, read options in more significant bits.<br />
* 0: <i>k</i> option is inactive. Used to turn off this option as a command-line over-ride.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>1</td><td></td><td><br />
<b>Sforzando/rfz flag</b><br />
* 0: display sforzando as sf (rf)<br />
* 1: display sforzando as sfz (rfz)<br />
</td></tr><br />
<br />
<tr valign=baseline><td>2</td><td></td><td><br />
<b>Sub-edit flag</b><br />
* 0: diplay editorial markup differently from regular data (such as adding brackets around editorial elements).<br />
* 1: do not display editorial data differently from regular data.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>3</td><td></td><td><br />
<b>No-editorial flag</b><br />
* 0: display editorial markup data.<br />
* 1: do not display editorial markup data.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>4</td><td></td><td><br />
<b> Editorial markup in Roman font flag</b><br />
* 0: use cue-size music fonts for editorial marks.<br />
* 1: use Times-Roan font for editorial marks: tr, dynamics<br />
</td></tr><br />
<br />
<tr valign=baseline><td>5</td><td></td><td><br />
<b>Ligature flag</b><br />
* 0: do not use ligatures in text.<br />
* 1: use ligatures for "ffl", "ffi", "ff", "fl", and "fi".<br />
</td></tr><br />
<br />
<tr valign=baseline><td>6</td><td></td><td><br />
<b>figured harmony flag</b><br />
* 0: place figured harmony (figured bass) below the staff.<br />
* 1: place figured harmony (figured bass) above the staff.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>7</td><td></td><td><br />
<b> mheavy4 barline style flag</b><br />
* 0: mheavy4 barline represented by two heavy lines.<br />
* 1: mheavy4 barline represented by one thin, one thick, and then another thin line.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>8</td><td></td><td><br />
<b>Multi-voice augmentation dot option</b><br />
* 0: allow overstrike of dots in different voices.<br />
* 1: do now allow overstrike<br />
</td></tr><br />
<br />
<tr valign=baseline><td>9</td><td></td><td><br />
<b>New key signatures option</b><br />
* 0: don't print a new key signature if it is the same as the previous one on the staff.<br />
* 1: print a new key signature even if it repeats the previous key signature on the staff.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>10</td><td></td><td><br />
<b>Mixed rhythm chords</b><br />
* 0: Don't allow a mixture of white and black notes in chords.<br />
* 1: Allow mixture of white and black notes in chords.<br />
</td></tr><br />
<br />
<tr valign=baseline><td>11</td><td></td><td><br />
<b>Suppress key signature flag </b><br />
* 0: display key signatures<br />
* 1: suppress printing of the key signature (such as for timpani parts).<br />
</td></tr><br />
<br />
<tr valign=baseline><td>12</td><td></td><td><br />
<b>Editorial slurs flag</b><br />
* 0: all slurs are regular.<br />
* 1: <tt>{ }</tt> amd <tt>z x</tt> slurs are editorial slurs (dashed slurs).<br />
</td></tr><br />
<br />
<tr valign=baseline><td>13</td><td></td><td><br />
<b>New clef sign flag </b><br />
* 0: Large clefs at start of system, cue-size clefs for clef changes.<br />
* 1: Always use large clefs.<br />
</td></tr><br />
<br />
</table><br />
<br />
|- valign="top"<br />
| {{anchor|l_option}}<b>=l</b><#>|| Length of a page. Distance is measured dots, at 300 dots to the inch. Default is 2740 dots. The default starting height is 120 dots. This will not be lowered, but may be raised to accommodate a longer page.<br />
<br />
|- valign="top"<br />
| {{anchor|m_option}}<b>=m</b><#> || Left margin, measured in at 300 dots/inch. The default is 200 dots<br />
<br />
|- valign="top"<br />
| {{anchor|M_option}}<b>=M</b> || include the contents of the MuseData source files in the Trailer section of the file embedded in PostScript comments (if MuseData [[stage2]] files are used as input.<br />
<br />
|- valign="top"<br />
| {{anchor|n_option}}<b>=n</b><#> || Maximum number of systems on a page. The default is no maximum.<br />
<br />
|- valign="top"<br />
| {{anchor|p_option}}<b>=p</b> || The source is a concatenated set of page specific i-files (also called .mpg files), not a set of MuseData files.<br />
<br />
|- valign="top"<br />
| {{anchor|P_option}}<b>=P</b> || include listings of the page specific i-files, which are the source of the output PostScript data. Each page is separated<br />
<br />
|- valign="top"<br />
| {{anchor|Q_option}}<b>=Q</b><#> || Duration which is assigned the minimum distance<br />
1 = whole notes<br />
... . . .<br />
8 = eighth notes<br />
16 = sixteenth notes, etc<br />
<br />
|- valign="top"<br />
| {{anchor|s_option}}<b>=s</b>^string^ || Custom left-hand spine. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=s^[(....)][(..)](.)[({..}..)]^<br />
Each dot in the system bracketing string represents one part, with the first dot in the string representing the top staff of the system. If a grand-staff is used for any part, then use the colon character (:) for that part. Staves which should be bracketed together are enclosed in square brackets: <tt>[]</tt>. Staves which should be braced together are enclosed in curly braces: <tt>{}</tt>. Staves which should be barred together (barlines connecting between staves) are enclosed in parentheses: <tt>()</tt>. The caret character (^) is used to mark the start and top of the option string. Subsequent options occur immediately after the second caret character with no intervening space.<br />
<br />
|- valign="top"<br />
| {{anchor|S_option}}<b>=S</b><#> || Add extra space between the title and the first system of music: 0 = use default, >0 = lower the first system (units are 1/300th of an inch).<br />
<br />
|- valign="top"<br />
|{{anchor|t_option}}<b>=t</b><#> || Top of page. Default is 120 dots.<br />
<br />
|- valign="top"<br />
| {{anchor|T_option}}<b>=T</b>^string^ || Display the ''string'' as a title at the top of the (first) page. See <b>=u</b> for sub-title, and <b>=C</b> for composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|u_option}}<b>=u</b>^string^ || Display the ''string'' as a sub-title at the top of the (first) page. See <b>=T</b> for the title, and <b>=C</b> for the composer. <!-- option added Jan 2011 --><br />
<br />
|- valign="top"<br />
| {{anchor|v_option}}<b>=v</b><#,#,#...#> || Custom spacings. If the format is incorrect for any reason, the program will revert to the default. example:<br />
=v192,192,192,208,192,208,176,176,176,200<br />
The above example setting for the =v option can be used for a system with 8 parts (such as 4 woodwinds, 2 horns, and 4 string instruments). The first seven values describe the spacing between each staff in the system, and the last value is the spacing between systems on the page. The spacing between staves and systems is constant with muse2ps. The spacing values are 1/10th of the distance between two staff lines, and the spacing value is the distance from the top of one staff to the top of the next staff (or the top of the last staff on a system to the top of the staff on the next system for the last value in the list). See the <tt>=g</tt> option for spacing the staves of a grand staff (such as for piano music). When a grand staff is part of a system with more parts, then the distance between the grand staff and the next system is the distance between the top of the bottom staff of the grand-staff pair and the top of the next staff.<br />
<br />
|- valign="top"<br />
| {{anchor|w_option}}<b>=w</b><#> || System width, measured in at 300 dots/inch. The default is 2050 dots<br />
<br />
|- valign="top"<br />
| {{anchor|W_option}}<b>=W</b>[#] || Thin barline flag. 0 = use regular barlines. 1 = use thin barlines. No number after <tt>=W</tt> means the same as <tt>=W0</tt>.<br />
<br />
|- valign="top"<br />
| {{anchor|x_option}}<b>=x</b> || Defeat all part inclusion suggestions in the data<br />
<br />
|- valign="top"<br />
| {{anchor|X_option}}<b>=X</b>[#] || Leave off the last barline (for short examples). 0 = print last bar, 1 = don't print last bar, <tt>=X</tt> without a number is equivalent to <tt>=X1</tt>. Note: you can add extra staff line space in the last bar by putting in <tt>irest</tt>s, but you must put <tt>irest</tt>s in all parts ,and they must all represent the same note type (duration). Note also: If the last bar line is anything but a regular measure line, it will continue to print.<br />
<br />
|- valign="top"<br />
|{{anchor|y_option}}<b>=y</b> || Defeat all line control suggestions in the data<br />
<br />
|- valign="top"<br />
|{{anchor|Y_option}}<b>=Y</b><#> || Suppress printing first time signature in score. Used for printing small examples which have a time signature in the data, but none desired in graphical notation. You can also use a time signature in the data of "<tt>T:9/0</tt>" to generate a <i>hidden</i> time signature, and not giving a time signature at the start of a file will result in not time signature being printed. 0 = print initial time signatures (used to override options embedded in data). 1 = suppress first time signature (<tt>=Y</tt> is equivalent to <tt>=Y1</tt>).<br />
<br />
|- valign="top"<br />
| {{anchor|z_option}}<b>=z</b><#> || Music size: choices are 6,14,16,18,21. 14 is the default. This value describes the distance between staff lines in units of 300 dots per inch.<br />
<br />
|}<br />
<br />
== Multi-file input specification ==<br />
<br />
Normally individual MuseData [[stage2]] files contain a single part. These part files are concatenated together and sent via standard input into the muse2ps program. In order for the muse2ps program to be able to segment the separate part files from the original stream the marked "<tt>/eof</tt>" is added after the last line in each file, and the marker "<tt>//</tt>" is ''required'' after the end of all datafile input into muse2ps. <br />
<br />
Typically the last line of a [[stage2]] MuseData file consists of the string "<tt>/END</tt>" (in uppercase), so add the line "<tt>/eof</tt>" (in lowercase) after it: <br />
/END<br />
/eof<br />
<br />
The very last three lines of input to muse2ps should should look like this:<br />
<br />
/END<br />
/eof<br />
//<br />
<br />
If you specify the =E option when running muse2ps, the "<tt>/END</tt>" markers will be used to segment the separate part files internally.<br />
<br />
The PERL script [[Media:collatemd2.pl|collatemd2]] (included with the source code to muse2ps) can be used to concatenate multiple [[stage2]] part files into a single input stream for muse2ps. The output of the PERL script can be saved to a file for later processing with muse2ps. In this case the recommended file extension for the multi-file MuseData content is <b>.md2</b> . Here are example uses of [[Media:collatemd2.pl|collatemd2]]:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
You many have to type "<tt>./collatemd2</tt>" instead of "<tt>collatemd2</tt>" if the perl program is in the current directory and the current directory is not in the command search path. If you download the program from this page, remove the .pl extension when saving (and use a lower-case first letter for the filename). You may have to set the permissions to allow it to be run as a program with the unix command: <tt>chmod 0755 collatemd2</tt>.<br />
<br />
Alternatively, you can save the output from [[Media:collatemd2.pl|collatemd2]] into a file for later use with muse2ps:<br />
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] > [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]]<br />
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]<br />
<br />
When downloading MuseData [[stage2]] files from http://www.musedata.org , the parts are all combined into a single multi-file MuseData file which is the equivalent to the output from [[Media:collatemd2.pl|collatemd2]].<br />
<br />
=== Multiple Music Page files ===<br />
<br />
When concatenating multiple Music Page (MPG) files, separate each file's content with a line with the single capital letter "P" on it. Example of how to do this on the command line, creating a PDF file:<br />
<br />
<source lang="bash"><br />
for i in ??<br />
do<br />
cat $i<br />
echo P<br />
done | muse2ps =p | ps2pdf - - > output.pdf<br />
</source><br />
<br />
N.B.: Probably two slashes also need to be added at the end of the last page; otherwise, it will not print:<br />
<br />
//<br />
<br />
== Color highlighting ==<br />
<br />
A soon-to-be released update of muse2ps will allow for coloring of notes in the score. This colorization can be used in conjunction with displaying search results, or highlighting notes in an example. <br />
<br />
If you place an "R" character in column 14 for note (or rest) records, That note will be highlighted red. A capital "R" will also highlight the stem of the note, while a lower case "r" will color only the notehead. If multiple colored notes all share a common beam, then that beam is also highlighted.<br />
<br />
The letter "B" can be used in column 14 to color notes blue, and the letter "G" can be used to color notes green. The lowercase versions "r" and "g" can be used to color only the noteheads and not the stems.<br />
<br />
== Embedded options ==<br />
<br />
The <i>muse2ps</i> program can read options sent in the input data stream. Options can be embedded in the input data as single-line comments. In [[stage2]] files, single-line comments start with an at-sign (<tt>@</tt>) in the first column of the line. Following the comment marker comes an option identification string "<tt>muse2psv1</tt>", with "<tt>v1</tt>" being the option version level (currently level 1, and can be used in the future to keep options backwards and forwards compatible. Default options, listed in the previous section describing the options, can be overridden by using the default option setting method which adds two equal signs in a row, followed by any options. Multiple default option <br />
comments may occur to prevent the length of the line from getting too long (it is a good idea to limit the length of the line for full backwards compatibility with dmuse and [[stage2]] files, although the current line limit in dmuse/muse2ps is 900 characters).<br />
<br />
Option for specific music sizes can be set by placing the size option between the two equals signs in the option comment. Here is an example option comment header:<br />
<br />
@muse2psv1==z18<br />
@muse2psv1==T^Bach Chorale^u^bwv-277^C^J.S. Bach (1685-1750)^<br />
@muse2psv1=z14=v200,155,155,155j<br />
@muse2psv1=z18=v240,195,195,195j<br />
@muse2psv1=z21=v300,230,230,230j<br />
<br />
The first two lines are default option settings for all music sizes. The first line sets the default music size to 18 if no size is given on the command line to muse2ps. The second line sets the title, subtitle, and composer fields on the title page. The last three lines set the vertical spacing between staves at various music sizes; the first for size 14, then size 18, and the last line for size 21.<br />
<br />
== ps2pdf options ==<br />
<br />
The default behavior of the ps2pdf program is to assume that the input data is formatted for A4 paper. The default output size for muse2ps is US letter. In order for ps2pdf to generate output pages with the correct dimensions, add the option <tt>-sPAPERSIZE=letter</tt> as an argument to the program:<br />
ps2pdf -sPAPERSIZE=letter<br />
<br />
Another pair of useful options (not needed for output from muse2ps, but useful when adding footers at later states in data program) embed the fonts used in the file:<br />
ps2pdf -sPAPERSIZE=letter -dCompatibilityLevel=1.4 -dPDFSETTINGS=/prepress<br />
<br />
For example the Symbol font is not present on the Apple iPad PDF viewer. When using the options in this example, the Symbol font (or the portion used) would be embedded in the file and therefore viewable on an iPad.<br />
<br />
== Creating images ==<br />
<br />
Graphical images can be created in various ways. A good method is to convert PostScript output from muse2ps to a bitmap image with the unix command-line program pstopnm. For smaller examples and converting to other images formtas, Imagemagick's convert is another command-line which is useful. Both pstopnm and convert are often pre-installed on linux computers, and both are available for free on the internet. They should also work with OS X, and can be used in MS Windows using [http://www.cygwin.com cygwin].<br />
<br />
To create an image pipe the output from muse2ps into pstopnm, and convert to a bitmapped image at 300 dots per inch. Next pipe the resulting image to convert for further processing. In the following example, the image is first trimmed from a full page to just the area which contains the printed music, then the image is resized to 33% of the original size for use on the web, and saved into a PNG file.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -resize '33%' [[Media:scale.png|scale.png]]<br />
<br />
=== Transparent background ===<br />
<br />
Use the options <tt>-negate -alpha copy -negate</tt> to make the background of the image transparent so that it can be displayed on any background color. Here is the example image which was just created with the above command:<br />
<br />
[[Image:scale.png]]<br />
<br />
Notice that the background color of the image is white, which becomes noticeable when placing the image on a non-white background color. Now create an image with a transparent background:<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim -negate -alpha copy -negate \<br />
-resize '33%' [[Media:scale-transparent.png|scale.png]]<br />
<center><br />
<table cellspacing=0 cellpadding=3><tr bgcolor=#ffffff><td bgcolor=#4499aa><br />
[[Image:scale-transparent.png]]<br />
</td><td width=10><br />
<td bgcolor=#ffaa44>[[Image:scale-transparent.png]]<br />
</td></tr></table></center><br />
<br />
<br />
=== Images for printed publications ===<br />
<br />
To insert musical examples in a Microsoft or similar word processing program, do not resize the image, but leave it at the 300 dots per inch size of the original. Then you can rescale the image in the word processor as necessary. This will optimize the quality of the image in the final printout from the word processor.<br />
<br />
cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \<br />
convert - -trim [[Media:scale-large.png|scale.png]]<br />
<br />
== Humdrum interface ==<br />
<br />
The muse2ps program can be used in conjunction with the [http://extra.humdrum.org/man/hum2muse hum2muse] program. Here is an example of how to create graphical music notation using the following Humdrum data as an example:<br />
<br />
<table cellspacing=0><tr bgcolor=white valign=top><td><htmlet>beethoven-kern</htmlet></td><br />
<td width=10></td><br />
<td> <br />
<pre><br />
hum2muse file.krn | muse2ps \<br />
| ps2pdf - - > file.png<br />
</pre><br />
[[Image:beethoven-kern.png]] <br />
<br><br />
<br><br />
<br><br />
</td><br />
</tr><br />
</table><br />
<br />
Images can be generated from Humdrum data online by pasting/typing data into the [http://kern.humdrum.org/cgi-bin/kern/kseditor Humdrum online editor]. For example, copy and paste the above Humdrum data into the left black box on the Humdrum online editor page, and the click on the red "Generate" button to produce an image of the graphical music using the default settings.<br />
<br />
Here is the intermediate MuseData which is passed between [http://extra.humdrum.org/man/hum2muse hum2muse] and muse2ps: [[Media:beethoven-kern.md2 | beethoven.md2]]. Try copying / pasting<br />
this data into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in the same music notation as seen above.<br />
<br />
== Zbex programs ==<br />
<br />
In the muse2ps source code directory, the sub-directory <tt>zprogs</tt> contains the [[zbex]] programs used to generate the file zfun32.c. Most necessary files needed to create [http://www.ccarh.org/software/muse2ps/muse2ps/zfun32.c zfun32.c] are in that directory, but perhaps not all of them. These programs are not used directly by muse2ps, but are compiled into zbex executable code within zfun32.c. The muse2ps is essentially a non-interactive version of [[dmuse]] (see http://dmuse.ccarh.org). The [[dmuse]] program is a text editor which also has a built-in [[zbex]] language interpreter and graphical music display capabilities. The interpreter portion of [[dmuse]] has been extracted for non-interactive use in muse2ps.<br />
<br />
== Examples == <br />
<br />
Further examples of MuseData [[stage2]] files converted into graphical music notation with muse2ps can be found on the [[MuseData examples]] page.<br />
<br />
== Feature requests and bug reports ==<br />
<br />
See the page: [[Muse2ps feature requests and bug reports]].</div>Edchttps://wiki.ccarh.org/index.php?title=Music_254&diff=10494Music 2542021-03-30T04:47:01Z<p>Edc: /* Ongoing research projects at CCARH */</p>
<hr />
<div>See also the [[Music 254/CS 275b Syllabus]].<br />
<br />
__TOC__<br />
<br />
<html><br />
<script><br />
var spans = document.querySelectorAll('h1 > span');<br />
console.log("LENGTH = ", spans.length);<br />
for (i=0; i<spans.length; i++) {<br />
if (spans[i].textContent === "Music 254") {<br />
spans[i].innerHTML = "Music 254: <span style='font-style: italic; font-size:80%;'>Music Query, Analysis, and Style Simulation</span>";<br />
}<br />
console.log(spans[i].textContent);<br />
}<br />
console.log("GOT HERE");<br />
</script><br />
</html><br />
<br />
=Introduction=<br />
<br />
==Overview==<br />
Music 254/CS 275B is a seminar offered to graduate students in music and in computer science in the spring quarter of each year. Its overall aim is to enable projects in computational music analysis using symbolic data. <br />
<br />
The first month requires regular class meetings, an introduction and preliminary exercises in the use of Humdrum, and individually assigned readings in an area of mutual interest. Individual weekly meetings replace lab time in the last half of the quarter. <br />
<br />
==Project topics==<br />
Projects and applications can be developed on the basis of any well documented encoding scheme and may draw on machine-readable information from an additional domain (gesture, audio, et al.). Music 254/CS 275B has been an incubator for software applications in such areas as melodic search in Western and non-Western repertories, polyphonic query, harmonic visualization, real-time analysis of pre-tonal and tonal music, generation of compositions based on specified styles and/or genres, and AI techniques in author/composer profiling, structural dissection of polyphonic scores, and feature-weighting approaches to MIR (music information retrieval). <br />
<br />
==Prerequisites==<br />
Successful completion of Music 253/CS 275A, Symbolic Musical Information, and graduate status or evidence of equivalent preparation.<br />
<br />
Previous programming experience is not necessary but is an asset. A working knowledge of musical notation and elementary concepts of music theory is essential. <br />
<br />
Familiarity with other recent work in the chosen project area is essential.<br />
<br />
==Historical background==<br />
Music 254/CS 275B has evolved over more than two decades from a seminar in music representation systems to a project-oriented sandbox for applications involving the use of symbolic (discrete) musical data. <br />
<br />
Music 253/CS 275A, offered in the winter quarter, delves into the details of representation schemes and code content for programs in music typesetting (SCORE, Finale, MuseScore), MIDI, interchange codes (MusicXML, MEI), and related methods of data acquisition including optical music recognition. A recent syllabus and description are [http://wiki.ccarh.org/wiki/Music_253 here].<br />
<br />
==Labs==<br />
Labs are focused on development of a project in computational musicology. Classes in the first half of the quarter focus on learning selected features of the comprehensive <i>Humdrum Toolkit</i> [http://csml.som.ohio-state.edu/Humdrum/talks/Humdrum.Toolkit/index.html] and the [https://verovio.humdrum.org/ <i>Verovio Humdrum Viewer</i>], which may be used to view music of interest in the project. Each project is adapted to the background and skills of the student. Users can also use other tools with which they are familiar or create their own new ones.<br />
<br />
==Data Contents==<br />
Data repositories of verified symbolic encodings include three that have been created locally:<br />
<br />
* <b>The [https://jrp.stanford.edu Josquin Research Project]</b> contains scores--mainly choral repertories composed by Josquin and his contemporaries. No lyrics. Encoded by humans for use with **kern and MuseData. Conversions to other formats include MIDI, MEI, et al.<br />
<br />
* [https://kern.ccarh.org <b><i>KernScores</i></b>] contains scores of Western European music--mainly for piano--classical period through early twentieth-century, with broad edges for earlier and later music. Optically recognized. Humdrum kern format native, with on-the-fly conversions to numerous other formats for notation and analysis.<br />
<br />
* [https://musedata.org/ <b><i>MuseData</i></b>] contains scores of Western European music--mainly for orchestra, ensemble, quartet, or mixed group--from 1700 to 1850 (e.g. Bach, Corelli, Vivaldi, Haydn, Beethoven, et al.) fully encoded by humans (with lyrics when pertinent) in the MuseData format, with conversions to several other formats. <br />
<br />
* [http://www.tassomusic.org/ <b>Tasso in Music</b>] contains literary texts by Torquato Tasso and musical settings by diverse composers through the year 1640.<br />
<br />
==Links and credits==<br />
The CCARH Lab (Braun Music Center #128) provides support for a wide range of notation and analysis applications, some of which may be useful for auxiliary tasks (scanning, printing, generating MIDI files, etc.). <br />
<br />
* <b>MuseData</b> (1985--): http://www.musedata.org. Format and printing system designed and implemented by Walter B. Hewlett. Currently holds 1,200 classical works (symphonies, chamber music, operas, oratorios). Hosted by CCARH (http://www.ccarh.org)<br />
<br />
* <b>Humdrum Toolkit</b> (1985): https://musiccog.ohio-state.edu/home/index.php/The_Humdrum_Toolkit. Initiated by David Huron. Hosted by The Ohio State University, with additional tools at CCARH.<br />
<br />
* <b>KernScores</b> (2001): http://kern.ccarh.org and http://kern.humdrum.org. Originated and maintained by Craig Sapp. Roughly 2,000 works (piano music, German and Chinese folksongs). Related [http://ismir2005.ismir.net/proceedings/3123.pdf literature].<br />
<br />
* <b>Josquin Research Project</b> (2010): http://jrp.stanford.edu. Initiated by Jesse Rodin, website developed and maintained by Craig Sapp. Currently contains c. 400 of a project 500 polyphonic works. <br />
<br />
* <b>Tasso in Music Project</b> (2015): http://www.tassomusic.org/. Initiated and directed by Emiliano Ricciardi, with technical implementation by Craig Sapp. Forty works of a prospective 600+ currently online. Entries organized by literary genres.<br />
<br />
==The <i>Humdrum Toolkit</i>==<br />
The Unix-based Humdrum Toolkit originated in the mid-1980s as a small set of commands that can be chained into series to produce concise information about changes inside an encoded musical score. Although the rudiments seem simple, the diversity of questions that can be posed and answered is potentially immense. Because Humdrum is now supported on three continents, CCARH recently constructed a Humdrum portal [http://http://humdrum.ccarh.org/] to link tools and documentation at diverse locations.<br />
<br />
=Course Topics=<br />
<br />
See also Recent Projects below.<br />
<br />
==Elements of Musical Style==<br />
What constitutes a musical style? As a classroom subject, <b>style</b> is often used as a lens through which to differentiate the work of different composers, genres, historical periods, places, schools of pedagogy, and so forth. It is an umbrella term to which almost any aspect of music can be related. While no one denies that the term is vague in its meaning, two individuals who have defined and articulated specific elements of musical style have also provided taxonomies that are inordinately useful in the development of computer programs for musical analysis.<br />
<br />
===LaRue's Rubrics of Style Analysis===<br />
The noted musicologist Jan LaRue (1918-2003)[http://www.ams-net.org/opus/LaRue.html] took a top-down approach to the musical work. His taxonomy of musical features embraces a wide range of musical phenomena, most of which are frequently pertinent to classical music of the past four centuries. In his Guidelines for Style Analysis: A Comprehensive Outline of Basic Principals for the Analysis of Musical Style (New York: W.W. Norton, 1970), LaRue fleshes out his 9-part skeleton into three layers of detail.<br />
<br />
= Humdrum Lab Pages =<br />
<br />
Go to the [[Humdrum Lab]] portal for a list of exercises to get up to speed with using the Humdrum Toolkit and other programs/environments to work with Humdrum data files.<br />
<br />
= Recent and current subjects of student and visitor research =<br />
<br />
Topic ideas and technological tools vary considerably from year to year. The wide scope of projects emerging from Mus 254/CS 275B is best represented by subjects pursued over the past decade.<br />
<br />
<small>Degree candidacy and program indicated by initials [CS = computer science, CCRMA = Center for Computer Research in Music and Acoustics, DMA = Doctor of Musical Arts, EE = Electrical Engineering, MST = Music, Science, and Technology program]</small><br />
<br />
* A geometric approach to content-based retrieval (CS Master's)<br />
* A database for chord recognition (CCRMA PhD)<br />
* A keyboard query system for <i>Themefinder</i> (MBA business)<br />
* A notation system for gesture (DMA)<br />
* A steel-drum teaching app for calypso (CS Master's)<br />
* A tabla transcription system (CCRMA PhD)<br />
* A transcription system for Turkish music (PhD physics)<br />
* Algorithmic realization of basso continuo using <i>partimento</i> theory (PhD medicine)<br />
* Analysis of ryoka (CCRMA MST)<br />
* Automatic accompaniment (CCRMA MST)<br />
* Automatic reduction from full to piano-vocal score (DMA)<br />
* Automatic score alignment, audio-symbolic data alignment (EE Master's)<br />
* Automatic synchonization of music and movement (CCRMA PhD)<br />
* Beat alignment (numerous, mainly CCRMA)<br />
* Contrapuntal analysis using the Hausdorff metric (CS MS)<br />
* Deep learning for analysis of musical structure (CS MS)<br />
* Deep metric structure (visiting German PhD)<br />
* Electronic composition for animations (visiting master's from Keio University)<br />
* Encoding system of music by Hildegard von Bingen (PhD visitor)<br />
* Encoding Zarlino's treatises with interactive music and sound (visiting Dutch PhD)<br />
* French chant in the Norman conquest of Southern Italy (visiting PhD from Italy in music/art history)<br />
* Generation of new Joplin rags (EE Master's)<br />
* Geospatial cluster analysis of meter in European folksong (Music PhD)<br />
* Harmonic Analysis and its Visualization (CCRMA PhD)<br />
* Harpsichord tuning systems in the Italian Baroque (Co-term Music/Math)<br />
* Interactive <i>Leitmotif</i> analysis tools with integrated score display and sound output (German CS master's)<br />
* Implementation of <i>Themefinder</i> search tools in the RISM search engine (visiting Swiss PhD in Music/CS) <br />
* Koto score software (visiting PhD candidate, Keio University)<br />
* Mapping of drum gesture (PhD CS)<br />
* Melodic analysis (PhD mathematics)<br />
* Metrical weights following Neumann, Lerdahl, and Volk (visiting German PhD) <br />
* Music synchronization in virtual reality (CCRMA PhD)<br />
* Peer-to-peer query by humming (CS master's)<br />
* Performance analysis: Bach fugues (CCRMA PhD)<br />
* Phonology and music-notation mapping (CCRMA PhD)<br />
* Pitch-tracking for South Indian Classical Music (EE PhD)<br />
* Probabilistic style-simulation using trees (SSP undergraduate)<br />
* Perceptual of timbre (CCRMA PhD)<br />
* Real-time voice pitch tracking in Humdrum (MST undergrad)<br />
* Rhythmic pattern sort in RISM OPAC data (1.3 million incipits) (PhD collaborator)<br />
* Drumpfet acoustics (visiting Taiwanese researcher)<br />
* Searching lyrics in multimedia databases with Mandarin and English (CS PhD)<br />
* Style judgment by man and machine (EE PhD)<br />
* Stylistic traits of Pierre de la Rue's motets (Mus undergraduate)<br />
* Temporal calibration of <i>gagaku</i> (CCRMA MST)<br />
* Visualization methods for structural analysis (MA mathematics)<br />
* XML tools for <i>MuseData</i> and <i>Themefinder</i> (visiting Dutch researcher)<br />
<br />
= Ongoing research projects at CCARH = <br />
<br />
* Automatic PDF generation from encoded-score datasets <br />
* [http://purl.stanford.edu/br237mp4161 Harmonic visualization of musical structure] (Craig Sapp's Keyscapes)<br />
* [http://wiki.ccarh.org/wiki/MuseData:_Johann_Sebastian_Bach Bach edition, score, and analysis projects] in collaboration of national and international performing groups <br />
* [http://wiki.ccarh.org/wiki/MuseData:_Ludwig_van_Beethoven Beethoven symphony and string quartet edition, score, and analysis projects] <br />
* [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Corelli score, analysis, and visualization projects] <br />
* [http://www.cpebach.org/ CPE Bach data-translation projects] (in cooperation with the Packard Humanities Institute)<br />
* [http://www.musedata.org/cgi-bin/mdsearch?s=t&keyword=pdf%20haydn Haydn score projects] in collaboration of performing groups and style analysis specialists<br />
* Interactive search tools for the [http://josquin.stanford.edu/ Josquin Research Project] (in cooperation with Jesse Rodin)<br />
* [http://wiki.ccarh.org/wiki/Messiah Handel edition and score projects] in collaboration of national and international performing groups <br />
* [http://ichriss.ccarh.org/HRD/ Handel Reference Database] (in cooperation with Ilias Chrissochoidis)<br />
* [http://kern.ccarh.org/ KernScores] website for music analysis <br />
* [http://music-encoding.org/home Music Encoding Initiative] (in cooperation with the University of Paderborn and the Detmold Hochschule für Musik)<br />
* MuseData documentation and development<br />
* Musical data translation (numerous projects and formats)<br />
* Online implementation of mensural notation <br />
* [https://opac.rism.info/metaopac/search.do;jsessionid=E8CF7EABC258F4FE86AADE26B4D2311C.touch01?emptyFields=false&SearchType=2&methodToCall=switchSearchPage RISM online melodic search] (in cooperation with the RISM Zentrum, Themefinder, Swiss RISM, and the Bavarian State Library ViFaMusik project)<br />
* Telemann edition and score projects in collaboration with the Telemann Zentrum <br />
* [http://www.themefinder.org Themefinder]<br />
* [http://verovio.humdrum.org Verovio] (in cooperation with the [http://music-encoding.org/tools/verovio/ Music Encoding Initiative (MEI)]) <br />
* [http://wiki.ccarh.org/wiki/MuseData:_Antonio_Vivaldi#Juditha_triumphans Vivaldi edition and score projects] in collaboration with national and international performing groups (CCARH staff)<br />
<br />
<br />
Previous front page: [http://www.ccarh.org/courses/254 http://www.ccarh.org/courses/254]</div>Edchttps://wiki.ccarh.org/index.php?title=Music_254&diff=10493Music 2542021-03-30T04:44:25Z<p>Edc: /* Recent and current subjects of student and visitor research */</p>
<hr />
<div>See also the [[Music 254/CS 275b Syllabus]].<br />
<br />
__TOC__<br />
<br />
<html><br />
<script><br />
var spans = document.querySelectorAll('h1 > span');<br />
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console.log("GOT HERE");<br />
</script><br />
</html><br />
<br />
=Introduction=<br />
<br />
==Overview==<br />
Music 254/CS 275B is a seminar offered to graduate students in music and in computer science in the spring quarter of each year. Its overall aim is to enable projects in computational music analysis using symbolic data. <br />
<br />
The first month requires regular class meetings, an introduction and preliminary exercises in the use of Humdrum, and individually assigned readings in an area of mutual interest. Individual weekly meetings replace lab time in the last half of the quarter. <br />
<br />
==Project topics==<br />
Projects and applications can be developed on the basis of any well documented encoding scheme and may draw on machine-readable information from an additional domain (gesture, audio, et al.). Music 254/CS 275B has been an incubator for software applications in such areas as melodic search in Western and non-Western repertories, polyphonic query, harmonic visualization, real-time analysis of pre-tonal and tonal music, generation of compositions based on specified styles and/or genres, and AI techniques in author/composer profiling, structural dissection of polyphonic scores, and feature-weighting approaches to MIR (music information retrieval). <br />
<br />
==Prerequisites==<br />
Successful completion of Music 253/CS 275A, Symbolic Musical Information, and graduate status or evidence of equivalent preparation.<br />
<br />
Previous programming experience is not necessary but is an asset. A working knowledge of musical notation and elementary concepts of music theory is essential. <br />
<br />
Familiarity with other recent work in the chosen project area is essential.<br />
<br />
==Historical background==<br />
Music 254/CS 275B has evolved over more than two decades from a seminar in music representation systems to a project-oriented sandbox for applications involving the use of symbolic (discrete) musical data. <br />
<br />
Music 253/CS 275A, offered in the winter quarter, delves into the details of representation schemes and code content for programs in music typesetting (SCORE, Finale, MuseScore), MIDI, interchange codes (MusicXML, MEI), and related methods of data acquisition including optical music recognition. A recent syllabus and description are [http://wiki.ccarh.org/wiki/Music_253 here].<br />
<br />
==Labs==<br />
Labs are focused on development of a project in computational musicology. Classes in the first half of the quarter focus on learning selected features of the comprehensive <i>Humdrum Toolkit</i> [http://csml.som.ohio-state.edu/Humdrum/talks/Humdrum.Toolkit/index.html] and the [https://verovio.humdrum.org/ <i>Verovio Humdrum Viewer</i>], which may be used to view music of interest in the project. Each project is adapted to the background and skills of the student. Users can also use other tools with which they are familiar or create their own new ones.<br />
<br />
==Data Contents==<br />
Data repositories of verified symbolic encodings include three that have been created locally:<br />
<br />
* <b>The [https://jrp.stanford.edu Josquin Research Project]</b> contains scores--mainly choral repertories composed by Josquin and his contemporaries. No lyrics. Encoded by humans for use with **kern and MuseData. Conversions to other formats include MIDI, MEI, et al.<br />
<br />
* [https://kern.ccarh.org <b><i>KernScores</i></b>] contains scores of Western European music--mainly for piano--classical period through early twentieth-century, with broad edges for earlier and later music. Optically recognized. Humdrum kern format native, with on-the-fly conversions to numerous other formats for notation and analysis.<br />
<br />
* [https://musedata.org/ <b><i>MuseData</i></b>] contains scores of Western European music--mainly for orchestra, ensemble, quartet, or mixed group--from 1700 to 1850 (e.g. Bach, Corelli, Vivaldi, Haydn, Beethoven, et al.) fully encoded by humans (with lyrics when pertinent) in the MuseData format, with conversions to several other formats. <br />
<br />
* [http://www.tassomusic.org/ <b>Tasso in Music</b>] contains literary texts by Torquato Tasso and musical settings by diverse composers through the year 1640.<br />
<br />
==Links and credits==<br />
The CCARH Lab (Braun Music Center #128) provides support for a wide range of notation and analysis applications, some of which may be useful for auxiliary tasks (scanning, printing, generating MIDI files, etc.). <br />
<br />
* <b>MuseData</b> (1985--): http://www.musedata.org. Format and printing system designed and implemented by Walter B. Hewlett. Currently holds 1,200 classical works (symphonies, chamber music, operas, oratorios). Hosted by CCARH (http://www.ccarh.org)<br />
<br />
* <b>Humdrum Toolkit</b> (1985): https://musiccog.ohio-state.edu/home/index.php/The_Humdrum_Toolkit. Initiated by David Huron. Hosted by The Ohio State University, with additional tools at CCARH.<br />
<br />
* <b>KernScores</b> (2001): http://kern.ccarh.org and http://kern.humdrum.org. Originated and maintained by Craig Sapp. Roughly 2,000 works (piano music, German and Chinese folksongs). Related [http://ismir2005.ismir.net/proceedings/3123.pdf literature].<br />
<br />
* <b>Josquin Research Project</b> (2010): http://jrp.stanford.edu. Initiated by Jesse Rodin, website developed and maintained by Craig Sapp. Currently contains c. 400 of a project 500 polyphonic works. <br />
<br />
* <b>Tasso in Music Project</b> (2015): http://www.tassomusic.org/. Initiated and directed by Emiliano Ricciardi, with technical implementation by Craig Sapp. Forty works of a prospective 600+ currently online. Entries organized by literary genres.<br />
<br />
==The <i>Humdrum Toolkit</i>==<br />
The Unix-based Humdrum Toolkit originated in the mid-1980s as a small set of commands that can be chained into series to produce concise information about changes inside an encoded musical score. Although the rudiments seem simple, the diversity of questions that can be posed and answered is potentially immense. Because Humdrum is now supported on three continents, CCARH recently constructed a Humdrum portal [http://http://humdrum.ccarh.org/] to link tools and documentation at diverse locations.<br />
<br />
=Course Topics=<br />
<br />
See also Recent Projects below.<br />
<br />
==Elements of Musical Style==<br />
What constitutes a musical style? As a classroom subject, <b>style</b> is often used as a lens through which to differentiate the work of different composers, genres, historical periods, places, schools of pedagogy, and so forth. It is an umbrella term to which almost any aspect of music can be related. While no one denies that the term is vague in its meaning, two individuals who have defined and articulated specific elements of musical style have also provided taxonomies that are inordinately useful in the development of computer programs for musical analysis.<br />
<br />
===LaRue's Rubrics of Style Analysis===<br />
The noted musicologist Jan LaRue (1918-2003)[http://www.ams-net.org/opus/LaRue.html] took a top-down approach to the musical work. His taxonomy of musical features embraces a wide range of musical phenomena, most of which are frequently pertinent to classical music of the past four centuries. In his Guidelines for Style Analysis: A Comprehensive Outline of Basic Principals for the Analysis of Musical Style (New York: W.W. Norton, 1970), LaRue fleshes out his 9-part skeleton into three layers of detail.<br />
<br />
= Humdrum Lab Pages =<br />
<br />
Go to the [[Humdrum Lab]] portal for a list of exercises to get up to speed with using the Humdrum Toolkit and other programs/environments to work with Humdrum data files.<br />
<br />
= Recent and current subjects of student and visitor research =<br />
<br />
Topic ideas and technological tools vary considerably from year to year. The wide scope of projects emerging from Mus 254/CS 275B is best represented by subjects pursued over the past decade.<br />
<br />
<small>Degree candidacy and program indicated by initials [CS = computer science, CCRMA = Center for Computer Research in Music and Acoustics, DMA = Doctor of Musical Arts, EE = Electrical Engineering, MST = Music, Science, and Technology program]</small><br />
<br />
* A geometric approach to content-based retrieval (CS Master's)<br />
* A database for chord recognition (CCRMA PhD)<br />
* A keyboard query system for <i>Themefinder</i> (MBA business)<br />
* A notation system for gesture (DMA)<br />
* A steel-drum teaching app for calypso (CS Master's)<br />
* A tabla transcription system (CCRMA PhD)<br />
* A transcription system for Turkish music (PhD physics)<br />
* Algorithmic realization of basso continuo using <i>partimento</i> theory (PhD medicine)<br />
* Analysis of ryoka (CCRMA MST)<br />
* Automatic accompaniment (CCRMA MST)<br />
* Automatic reduction from full to piano-vocal score (DMA)<br />
* Automatic score alignment, audio-symbolic data alignment (EE Master's)<br />
* Automatic synchonization of music and movement (CCRMA PhD)<br />
* Beat alignment (numerous, mainly CCRMA)<br />
* Contrapuntal analysis using the Hausdorff metric (CS MS)<br />
* Deep learning for analysis of musical structure (CS MS)<br />
* Deep metric structure (visiting German PhD)<br />
* Electronic composition for animations (visiting master's from Keio University)<br />
* Encoding system of music by Hildegard von Bingen (PhD visitor)<br />
* Encoding Zarlino's treatises with interactive music and sound (visiting Dutch PhD)<br />
* French chant in the Norman conquest of Southern Italy (visiting PhD from Italy in music/art history)<br />
* Generation of new Joplin rags (EE Master's)<br />
* Geospatial cluster analysis of meter in European folksong (Music PhD)<br />
* Harmonic Analysis and its Visualization (CCRMA PhD)<br />
* Harpsichord tuning systems in the Italian Baroque (Co-term Music/Math)<br />
* Interactive <i>Leitmotif</i> analysis tools with integrated score display and sound output (German CS master's)<br />
* Implementation of <i>Themefinder</i> search tools in the RISM search engine (visiting Swiss PhD in Music/CS) <br />
* Koto score software (visiting PhD candidate, Keio University)<br />
* Mapping of drum gesture (PhD CS)<br />
* Melodic analysis (PhD mathematics)<br />
* Metrical weights following Neumann, Lerdahl, and Volk (visiting German PhD) <br />
* Music synchronization in virtual reality (CCRMA PhD)<br />
* Peer-to-peer query by humming (CS master's)<br />
* Performance analysis: Bach fugues (CCRMA PhD)<br />
* Phonology and music-notation mapping (CCRMA PhD)<br />
* Pitch-tracking for South Indian Classical Music (EE PhD)<br />
* Probabilistic style-simulation using trees (SSP undergraduate)<br />
* Perceptual of timbre (CCRMA PhD)<br />
* Real-time voice pitch tracking in Humdrum (MST undergrad)<br />
* Rhythmic pattern sort in RISM OPAC data (1.3 million incipits) (PhD collaborator)<br />
* Drumpfet acoustics (visiting Taiwanese researcher)<br />
* Searching lyrics in multimedia databases with Mandarin and English (CS PhD)<br />
* Style judgment by man and machine (EE PhD)<br />
* Stylistic traits of Pierre de la Rue's motets (Mus undergraduate)<br />
* Temporal calibration of <i>gagaku</i> (CCRMA MST)<br />
* Visualization methods for structural analysis (MA mathematics)<br />
* XML tools for <i>MuseData</i> and <i>Themefinder</i> (visiting Dutch researcher)<br />
<br />
= Ongoing research projects at CCARH = <br />
<br />
* Automatic PDF generation from encoded-score datasets <br />
* [http://purl.stanford.edu/br237mp4161 Harmonic visualization of musical structure] (Craig Sapp's Keyscapes)<br />
* [http://wiki.ccarh.org/wiki/MuseData:_Johann_Sebastian_Bach Bach edition, score, and analysis projects] in collaboration of national and international performing groups <br />
* [http://wiki.ccarh.org/wiki/MuseData:_Ludwig_van_Beethoven Beethoven symphony and string quartet edition, score, and analysis projects] <br />
* [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Corelli score, analysis, and visualization projects] <br />
* [http://www.cpebach.org/ CPE Bach data-translation projects] (in cooperation with the Packard Humanities Institute)<br />
* [http://www.musedata.org/cgi-bin/mdsearch?s=t&keyword=pdf%20haydn Haydn score projects] in collaboration of performing groups and style analysis specialists<br />
* Interactive search tools for the [http://josquin.stanford.edu/ Josquin Research Project] (in cooperation with Jesse Rodin)<br />
* [http://wiki.ccarh.org/wiki/Messiah Handel edition and score projects] in collaboration of national and international performing groups <br />
* [http://ichriss.ccarh.org/HRD/ Handel Reference Database] (in cooperation with Ilias Chrissochoidis)<br />
* [http://kern.ccarh.org/ KernScores] website for music analysis <br />
* [http://music-encoding.org/home Music Encoding Initiative] (in cooperation with the the University of Paderborn and the Detmold Hochschule für Musik)<br />
* MuseData documentation and development<br />
* Musical data translation (numerous projects and formats)<br />
* Online implementation of mensural notation <br />
* [https://opac.rism.info/metaopac/search.do;jsessionid=E8CF7EABC258F4FE86AADE26B4D2311C.touch01?emptyFields=false&SearchType=2&methodToCall=switchSearchPage RISM online melodic search] (in cooperation with the RISM Zentrum, Themefinder, Swiss RISM, and the Bavarian State Library ViFaMusik project)<br />
* Telemann edition and score projects in collaboration with the Telemann Zentrum <br />
* [http://www.themefinder.org Themefinder]<br />
* [http://verovio.humdrum.org Verovio] (in cooperation with the [http://music-encoding.org/tools/verovio/ Music Encoding Initiative (MEI)]) <br />
* [http://wiki.ccarh.org/wiki/MuseData:_Antonio_Vivaldi#Juditha_triumphans Vivaldi edition and score projects] in collaboration of national and international performing groups (CCARH staff)<br />
<br />
<br />
Previous front page: [http://www.ccarh.org/courses/254 http://www.ccarh.org/courses/254]</div>Edchttps://wiki.ccarh.org/index.php?title=Music_254&diff=10492Music 2542021-03-30T04:39:24Z<p>Edc: /* Links and credits */</p>
<hr />
<div>See also the [[Music 254/CS 275b Syllabus]].<br />
<br />
__TOC__<br />
<br />
<html><br />
<script><br />
var spans = document.querySelectorAll('h1 > span');<br />
console.log("LENGTH = ", spans.length);<br />
for (i=0; i<spans.length; i++) {<br />
if (spans[i].textContent === "Music 254") {<br />
spans[i].innerHTML = "Music 254: <span style='font-style: italic; font-size:80%;'>Music Query, Analysis, and Style Simulation</span>";<br />
}<br />
console.log(spans[i].textContent);<br />
}<br />
console.log("GOT HERE");<br />
</script><br />
</html><br />
<br />
=Introduction=<br />
<br />
==Overview==<br />
Music 254/CS 275B is a seminar offered to graduate students in music and in computer science in the spring quarter of each year. Its overall aim is to enable projects in computational music analysis using symbolic data. <br />
<br />
The first month requires regular class meetings, an introduction and preliminary exercises in the use of Humdrum, and individually assigned readings in an area of mutual interest. Individual weekly meetings replace lab time in the last half of the quarter. <br />
<br />
==Project topics==<br />
Projects and applications can be developed on the basis of any well documented encoding scheme and may draw on machine-readable information from an additional domain (gesture, audio, et al.). Music 254/CS 275B has been an incubator for software applications in such areas as melodic search in Western and non-Western repertories, polyphonic query, harmonic visualization, real-time analysis of pre-tonal and tonal music, generation of compositions based on specified styles and/or genres, and AI techniques in author/composer profiling, structural dissection of polyphonic scores, and feature-weighting approaches to MIR (music information retrieval). <br />
<br />
==Prerequisites==<br />
Successful completion of Music 253/CS 275A, Symbolic Musical Information, and graduate status or evidence of equivalent preparation.<br />
<br />
Previous programming experience is not necessary but is an asset. A working knowledge of musical notation and elementary concepts of music theory is essential. <br />
<br />
Familiarity with other recent work in the chosen project area is essential.<br />
<br />
==Historical background==<br />
Music 254/CS 275B has evolved over more than two decades from a seminar in music representation systems to a project-oriented sandbox for applications involving the use of symbolic (discrete) musical data. <br />
<br />
Music 253/CS 275A, offered in the winter quarter, delves into the details of representation schemes and code content for programs in music typesetting (SCORE, Finale, MuseScore), MIDI, interchange codes (MusicXML, MEI), and related methods of data acquisition including optical music recognition. A recent syllabus and description are [http://wiki.ccarh.org/wiki/Music_253 here].<br />
<br />
==Labs==<br />
Labs are focused on development of a project in computational musicology. Classes in the first half of the quarter focus on learning selected features of the comprehensive <i>Humdrum Toolkit</i> [http://csml.som.ohio-state.edu/Humdrum/talks/Humdrum.Toolkit/index.html] and the [https://verovio.humdrum.org/ <i>Verovio Humdrum Viewer</i>], which may be used to view music of interest in the project. Each project is adapted to the background and skills of the student. Users can also use other tools with which they are familiar or create their own new ones.<br />
<br />
==Data Contents==<br />
Data repositories of verified symbolic encodings include three that have been created locally:<br />
<br />
* <b>The [https://jrp.stanford.edu Josquin Research Project]</b> contains scores--mainly choral repertories composed by Josquin and his contemporaries. No lyrics. Encoded by humans for use with **kern and MuseData. Conversions to other formats include MIDI, MEI, et al.<br />
<br />
* [https://kern.ccarh.org <b><i>KernScores</i></b>] contains scores of Western European music--mainly for piano--classical period through early twentieth-century, with broad edges for earlier and later music. Optically recognized. Humdrum kern format native, with on-the-fly conversions to numerous other formats for notation and analysis.<br />
<br />
* [https://musedata.org/ <b><i>MuseData</i></b>] contains scores of Western European music--mainly for orchestra, ensemble, quartet, or mixed group--from 1700 to 1850 (e.g. Bach, Corelli, Vivaldi, Haydn, Beethoven, et al.) fully encoded by humans (with lyrics when pertinent) in the MuseData format, with conversions to several other formats. <br />
<br />
* [http://www.tassomusic.org/ <b>Tasso in Music</b>] contains literary texts by Torquato Tasso and musical settings by diverse composers through the year 1640.<br />
<br />
==Links and credits==<br />
The CCARH Lab (Braun Music Center #128) provides support for a wide range of notation and analysis applications, some of which may be useful for auxiliary tasks (scanning, printing, generating MIDI files, etc.). <br />
<br />
* <b>MuseData</b> (1985--): http://www.musedata.org. Format and printing system designed and implemented by Walter B. Hewlett. Currently holds 1,200 classical works (symphonies, chamber music, operas, oratorios). Hosted by CCARH (http://www.ccarh.org)<br />
<br />
* <b>Humdrum Toolkit</b> (1985): https://musiccog.ohio-state.edu/home/index.php/The_Humdrum_Toolkit. Initiated by David Huron. Hosted by The Ohio State University, with additional tools at CCARH.<br />
<br />
* <b>KernScores</b> (2001): http://kern.ccarh.org and http://kern.humdrum.org. Originated and maintained by Craig Sapp. Roughly 2,000 works (piano music, German and Chinese folksongs). Related [http://ismir2005.ismir.net/proceedings/3123.pdf literature].<br />
<br />
* <b>Josquin Research Project</b> (2010): http://jrp.stanford.edu. Initiated by Jesse Rodin, website developed and maintained by Craig Sapp. Currently contains c. 400 of a project 500 polyphonic works. <br />
<br />
* <b>Tasso in Music Project</b> (2015): http://www.tassomusic.org/. Initiated and directed by Emiliano Ricciardi, with technical implementation by Craig Sapp. Forty works of a prospective 600+ currently online. Entries organized by literary genres.<br />
<br />
==The <i>Humdrum Toolkit</i>==<br />
The Unix-based Humdrum Toolkit originated in the mid-1980s as a small set of commands that can be chained into series to produce concise information about changes inside an encoded musical score. Although the rudiments seem simple, the diversity of questions that can be posed and answered is potentially immense. Because Humdrum is now supported on three continents, CCARH recently constructed a Humdrum portal [http://http://humdrum.ccarh.org/] to link tools and documentation at diverse locations.<br />
<br />
=Course Topics=<br />
<br />
See also Recent Projects below.<br />
<br />
==Elements of Musical Style==<br />
What constitutes a musical style? As a classroom subject, <b>style</b> is often used as a lens through which to differentiate the work of different composers, genres, historical periods, places, schools of pedagogy, and so forth. It is an umbrella term to which almost any aspect of music can be related. While no one denies that the term is vague in its meaning, two individuals who have defined and articulated specific elements of musical style have also provided taxonomies that are inordinately useful in the development of computer programs for musical analysis.<br />
<br />
===LaRue's Rubrics of Style Analysis===<br />
The noted musicologist Jan LaRue (1918-2003)[http://www.ams-net.org/opus/LaRue.html] took a top-down approach to the musical work. His taxonomy of musical features embraces a wide range of musical phenomena, most of which are frequently pertinent to classical music of the past four centuries. In his Guidelines for Style Analysis: A Comprehensive Outline of Basic Principals for the Analysis of Musical Style (New York: W.W. Norton, 1970), LaRue fleshes out his 9-part skeleton into three layers of detail.<br />
<br />
= Humdrum Lab Pages =<br />
<br />
Go to the [[Humdrum Lab]] portal for a list of exercises to get up to speed with using the Humdrum Toolkit and other programs/environments to work with Humdrum data files.<br />
<br />
= Recent and current subjects of student and visitor research =<br />
<br />
Topic ideas and technological tools vary considerably from year to year. The wide scope of projects emerging from Mus 254/CS 275B is best represented by subjects pursued over the past decade.<br />
<br />
<small>Degree candidacy and program indicated by initials [CS = computer science, CCRMA = Center for Computer Research in Music and Acoustics, DMA = Doctor of Musical Arts, EE = Electrical Engineering, MST = Music, Science, and Technology program]</small><br />
<br />
* A geometric approach to content-based retrieval (CS Master's)<br />
* A database for chord recognition (CCRMA PhD)<br />
* A keyboard query system for <i>Themefinder</i> (MBA business)<br />
* A notation system for gesture (DMA)<br />
* A steel-drum teaching app for calypso (CS Master's)<br />
* A tabla transcription system (CCRMA PhD)<br />
* A transcription system for Turkish music (PhD physics)<br />
* Algorithmic realization of basso continuo using <i>partimento</i> theory (PhD medicine)<br />
* Analysis of ryoka (CCRMA MST)<br />
* Automatic accompaniment (CCRMA MST)<br />
* Automatic reduction from full to piano-vocal score (DMA)<br />
* Automatic score alignment, audio-symbolic data alignment (EE Master's)<br />
* Automatic synchonization of music and movement (CCRMA PhD)<br />
* Beat alignment (numerous, mainly CCRMA)<br />
* Contrapuntal analysis using the Hausdorff metric (CS MS)<br />
* Deep learning for analysis of musical structure (CS MS)<br />
* Deep metric structure (visiting German PhD)<br />
* Electronic composition for animations (visiting master's from Keio University)<br />
* Encoding system of music by Hildegard con Bingen (PhD visitor)<br />
* Encoding Zarlino's treatises with interactive music and sound (visiting Dutch PhD)<br />
* French chant in the Norman conquest of Southern Italy (visiting PhD from Italy in music/art history)<br />
* Generation of new Joplin rags (EE Master's)<br />
* Geospatial cluster analysis of meter in European folksong (Music PhD)<br />
* Harmonic Analysis and its Visualization (CCRMA PhD)<br />
* Harpsichord tuning systems in the Italian Baroque (Co-term Music/Math)<br />
* Interactive <i>Leitmotif</i> analysis tools with integrated score display and sound output (German CS master's)<br />
* Implementation of <i>Themefinder</i> search tools in the RISM search engine (visiting Swiss PhD in Music/CS) <br />
* Koto score software (visiting PhD candidate, Keio University)<br />
* Mapping of drum gesture (PhD CS)<br />
* Melodic analysis (PhD mathematics)<br />
* Metrical weights following Neumann, Lerdahl, and Volk (visiting German PhD) <br />
* Music synchronization in virtual reality (CCRMA PhD)<br />
* Peer-to-peer query by humming (CS master's)<br />
* Performance analysis: Bach fugues (CCRMA PhD)<br />
* Phonology and music-notation mapping (CCRMA PhD)<br />
* Pitch-tracking for South Indian Classical Music (EE PhD)<br />
* Probabilistic style-simulation using trees (SSP undergraduate)<br />
* Perceptual of timbre (CCRMA PhD)<br />
* Real-time voice pitch tracking in Humdrum (MST undergrad)<br />
* Rhythmic pattern sort in RISM OPAC data (1.3 million incipits) (PhD collaborator)<br />
* Drumpfet acoustics (visiting Taiwanese researcher)<br />
* Searching lyrics in multimedia databases with Mandarin and English (CS PhD)<br />
* Style judgment by man and machine (EE PhD)<br />
* Stylistic traits of Pierre de la Rue's motets (Mus undergraduate)<br />
* Temporal calibration of <i>gagaku</i> (CCRMA MST)<br />
* Visualization methods for structural analysis (MA mathematics)<br />
* XML tools for <i>MuseData</i> and <i>Themefinder</i> (visiting Dutch researcher)<br />
<br />
= Ongoing research projects at CCARH = <br />
<br />
* Automatic PDF generation from encoded-score datasets <br />
* [http://purl.stanford.edu/br237mp4161 Harmonic visualization of musical structure] (Craig Sapp's Keyscapes)<br />
* [http://wiki.ccarh.org/wiki/MuseData:_Johann_Sebastian_Bach Bach edition, score, and analysis projects] in collaboration of national and international performing groups <br />
* [http://wiki.ccarh.org/wiki/MuseData:_Ludwig_van_Beethoven Beethoven symphony and string quartet edition, score, and analysis projects] <br />
* [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Corelli score, analysis, and visualization projects] <br />
* [http://www.cpebach.org/ CPE Bach data-translation projects] (in cooperation with the Packard Humanities Institute)<br />
* [http://www.musedata.org/cgi-bin/mdsearch?s=t&keyword=pdf%20haydn Haydn score projects] in collaboration of performing groups and style analysis specialists<br />
* Interactive search tools for the [http://josquin.stanford.edu/ Josquin Research Project] (in cooperation with Jesse Rodin)<br />
* [http://wiki.ccarh.org/wiki/Messiah Handel edition and score projects] in collaboration of national and international performing groups <br />
* [http://ichriss.ccarh.org/HRD/ Handel Reference Database] (in cooperation with Ilias Chrissochoidis)<br />
* [http://kern.ccarh.org/ KernScores] website for music analysis <br />
* [http://music-encoding.org/home Music Encoding Initiative] (in cooperation with the the University of Paderborn and the Detmold Hochschule für Musik)<br />
* MuseData documentation and development<br />
* Musical data translation (numerous projects and formats)<br />
* Online implementation of mensural notation <br />
* [https://opac.rism.info/metaopac/search.do;jsessionid=E8CF7EABC258F4FE86AADE26B4D2311C.touch01?emptyFields=false&SearchType=2&methodToCall=switchSearchPage RISM online melodic search] (in cooperation with the RISM Zentrum, Themefinder, Swiss RISM, and the Bavarian State Library ViFaMusik project)<br />
* Telemann edition and score projects in collaboration with the Telemann Zentrum <br />
* [http://www.themefinder.org Themefinder]<br />
* [http://verovio.humdrum.org Verovio] (in cooperation with the [http://music-encoding.org/tools/verovio/ Music Encoding Initiative (MEI)]) <br />
* [http://wiki.ccarh.org/wiki/MuseData:_Antonio_Vivaldi#Juditha_triumphans Vivaldi edition and score projects] in collaboration of national and international performing groups (CCARH staff)<br />
<br />
<br />
Previous front page: [http://www.ccarh.org/courses/254 http://www.ccarh.org/courses/254]</div>Edchttps://wiki.ccarh.org/index.php?title=Music_254&diff=10489Music 2542021-03-29T10:13:29Z<p>Edc: /* Links and credits */</p>
<hr />
<div>See also the [[Music 254/CS 275b Syllabus]].<br />
<br />
__TOC__<br />
<br />
<html><br />
<script><br />
var spans = document.querySelectorAll('h1 > span');<br />
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console.log("GOT HERE");<br />
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<br />
=Introduction=<br />
<br />
==Overview==<br />
Music 254/CS 275B is a seminar offered to graduate students in music and in computer science in the spring quarter of each year. Its overall aim is to enable projects in computational music analysis using symbolic data. <br />
<br />
The first month requires regular class meetings, an introduction and preliminary exercises in the use of Humdrum, and individually assigned readings in an area of mutual interest. Individual weekly meetings replace lab time in the last half of the quarter. <br />
<br />
==Project topics==<br />
Projects and applications can be developed on the basis of any well documented encoding scheme and may draw on machine-readable information from an additional domain (gesture, audio, et al.). Music 254/CS 275B has been an incubator for software applications in such areas as melodic search in Western and non-Western repertories, polyphonic query, harmonic visualization, real-time analysis of pre-tonal and tonal music, generation of compositions based on specified styles and/or genres, and AI techniques in author/composer profiling, structural dissection of polyphonic scores, and feature-weighting approaches to MIR (music information retrieval). <br />
<br />
==Prerequisites==<br />
Successful completion of Music 253/CS 275A, Symbolic Musical Information, and graduate status or evidence of equivalent preparation.<br />
<br />
Previous programming experience is not necessary but is an asset. A working knowledge of musical notation and elementary concepts of music theory is essential. <br />
<br />
Familiarity with other recent work in the chosen project area is essential.<br />
<br />
==Historical background==<br />
Music 254/CS 275B has evolved over more than two decades from a seminar in music representation systems to a project-oriented sandbox for applications involving the use of symbolic (discrete) musical data. <br />
<br />
Music 253/CS 275A, offered in the winter quarter, delves into the details of representation schemes and code content for programs in music typesetting (SCORE, Finale, MuseScore), MIDI, interchange codes (MusicXML, MEI), and related methods of data acquisition including optical music recognition. A recent syllabus and description are [http://wiki.ccarh.org/wiki/Music_253 here].<br />
<br />
==Labs==<br />
Labs are focused on development of a project in computational musicology. Classes in the first half of the quarter focus on learning selected features of the comprehensive <i>Humdrum Toolkit</i> [http://csml.som.ohio-state.edu/Humdrum/talks/Humdrum.Toolkit/index.html] and the [https://verovio.humdrum.org/ <i>Verovio Humdrum Viewer</i>], which may be used to view music of interest in the project. Each project is adapted to the background and skills of the student. Users can also use other tools with which they are familiar or create their own new ones.<br />
<br />
==Data Contents==<br />
Data repositories of verified symbolic encodings include three that have been created locally:<br />
<br />
* <b>The [https://jrp.stanford.edu Josquin Research Project]</b> contains scores--mainly choral repertories composed by Josquin and his contemporaries. No lyrics. Encoded by humans for use with **kern and MuseData. Conversions to other formats include MIDI, MEI, et al.<br />
<br />
* [https://kern.ccarh.org <b><i>KernScores</i></b>] contains scores of Western European music--mainly for piano--classical period through early twentieth-century, with broad edges for earlier and later music. Optically recognized. Humdrum kern format native, with on-the-fly conversions to numerous other formats for notation and analysis.<br />
<br />
* [https://musedata.org/ <b><i>MuseData</i></b>] contains scores of Western European music--mainly for orchestra, ensemble, quartet, or mixed group--from 1700 to 1850 (e.g. Bach, Corelli, Vivaldi, Haydn, Beethoven, et al.) fully encoded by humans (with lyrics when pertinent) in the MuseData format, with conversions to several other formats. <br />
<br />
* [http://www.tassomusic.org/ <b>Tasso in Music</b>] contains literary texts by Torquato Tasso and musical settings by diverse composers through the year 1640.<br />
<br />
==Links and credits==<br />
The CCARH Lab (Braun Music Center #128) provides support for a wide range of notation and analysis applications, some of which may be useful for auxiliary tasks (scanning, printing, generating MIDI files, etc.). <br />
<br />
* <b>MuseData</b> (1985--): http://www.musedata.org. Format and printing system designed and implemented by Walter B. Hewlett. Currently holds 1,200 classical works (symphonies, chamber music, operas, oratorios). Hosted by CCARH (http://www.ccarh.org)<br />
<br />
* <b>Humdrum Toolkit</b> (1985): https://musiccog.ohio-state.edu/home/index.php/The_Humdrum_Toolkit. Initiated by David Huron. Hosted by the Ohio State University, with additional tools at CCARH.<br />
<br />
* <b>KernScores</b> (2001): http://kern.ccarh.org and http://kern.humdrum.org. Originated and maintained by Craig Sapp. Roughly 2,000 works (piano music, German and Chinese folksongs). Related [http://ismir2005.ismir.net/proceedings/3123.pdf literature].<br />
<br />
* <b>Josquin Research Project</b> (2010): http://jrp.stanford.edu. Initiated by Jesse Rodin, website developed and maintained by Craig Sapp. Currently contains c. 400 of a project 500 polyphonic works. <br />
<br />
* <b>Tasso in Music Project</b> (2015): http://www.tassomusic.org/. Initiated and directed by Emiliano Ricciardi, with technical implementation by Craig Sapp. Forty works of a prospective 600+ currently online. Entries organized by literary genres.<br />
<br />
==The <i>Humdrum Toolkit</i>==<br />
The Unix-based Humdrum Toolkit originated in the mid-1980s as a small set of commands that can be chained into series to produce concise information about changes inside an encoded musical score. Although the rudiments seem simple, the diversity of questions that can be posed and answered is potentially immense. Because Humdrum is now supported on three continents, CCARH recently constructed a Humdrum portal [http://http://humdrum.ccarh.org/] to link tools and documentation at diverse locations.<br />
<br />
=Course Topics=<br />
<br />
See also Recent Projects below.<br />
<br />
==Elements of Musical Style==<br />
What constitutes a musical style? As a classroom subject, <b>style</b> is often used as a lens through which to differentiate the work of different composers, genres, historical periods, places, schools of pedagogy, and so forth. It is an umbrella term to which almost any aspect of music can be related. While no one denies that the term is vague in its meaning, two individuals who have defined and articulated specific elements of musical style have also provided taxonomies that are inordinately useful in the development of computer programs for musical analysis.<br />
<br />
===LaRue's Rubrics of Style Analysis===<br />
The noted musicologist Jan LaRue (1918-2003)[http://www.ams-net.org/opus/LaRue.html] took a top-down approach to the musical work. His taxonomy of musical features embraces a wide range of musical phenomena, most of which are frequently pertinent to classical music of the past four centuries. In his Guidelines for Style Analysis: A Comprehensive Outline of Basic Principals for the Analysis of Musical Style (New York: W.W. Norton, 1970), LaRue fleshes out his 9-part skeleton into three layers of detail.<br />
<br />
= Humdrum Lab Pages =<br />
<br />
Go to the [[Humdrum Lab]] portal for a list of exercises to get up to speed with using the Humdrum Toolkit and other programs/environments to work with Humdrum data files.<br />
<br />
= Recent and current subjects of student and visitor research =<br />
<br />
Topic ideas and technological tools vary considerably from year to year. The wide scope of projects emerging from Mus 254/CS 275B is best represented by subjects pursued over the past decade.<br />
<br />
<small>Degree candidacy and program indicated by initials [CS = computer science, CCRMA = Center for Computer Research in Music and Acoustics, DMA = Doctor of Musical Arts, EE = Electrical Engineering, MST = Music, Science, and Technology program]</small><br />
<br />
* A geometric approach to content-based retrieval (CS Master's)<br />
* A database for chord recognition (CCRMA PhD)<br />
* A keyboard query system for <i>Themefinder</i> (MBA business)<br />
* A notation system for gesture (DMA)<br />
* A steel-drum teaching app for calypso (CS Master's)<br />
* A tabla transcription system (CCRMA PhD)<br />
* A transcription system for Turkish music (PhD physics)<br />
* Algorithmic realization of basso continuo using <i>partimento</i> theory (PhD medicine)<br />
* Analysis of ryoka (CCRMA MST)<br />
* Automatic accompaniment (CCRMA MST)<br />
* Automatic reduction from full to piano-vocal score (DMA)<br />
* Automatic score alignment, audio-symbolic data alignment (EE Master's)<br />
* Automatic synchonization of music and movement (CCRMA PhD)<br />
* Beat alignment (numerous, mainly CCRMA)<br />
* Contrapuntal analysis using the Hausdorff metric (CS MS)<br />
* Deep learning for analysis of musical structure (CS MS)<br />
* Deep metric structure (visiting German PhD)<br />
* Electronic composition for animations (visiting master's from Keio University)<br />
* Encoding system of music by Hildegard con Bingen (PhD visitor)<br />
* Encoding Zarlino's treatises with interactive music and sound (visiting Dutch PhD)<br />
* French chant in the Norman conquest of Southern Italy (visiting PhD from Italy in music/art history)<br />
* Generation of new Joplin rags (EE Master's)<br />
* Geospatial cluster analysis of meter in European folksong (Music PhD)<br />
* Harmonic Analysis and its Visualization (CCRMA PhD)<br />
* Harpsichord tuning systems in the Italian Baroque (Co-term Music/Math)<br />
* Interactive <i>Leitmotif</i> analysis tools with integrated score display and sound output (German CS master's)<br />
* Implementation of <i>Themefinder</i> search tools in the RISM search engine (visiting Swiss PhD in Music/CS) <br />
* Koto score software (visiting PhD candidate, Keio University)<br />
* Mapping of drum gesture (PhD CS)<br />
* Melodic analysis (PhD mathematics)<br />
* Metrical weights following Neumann, Lerdahl, and Volk (visiting German PhD) <br />
* Music synchronization in virtual reality (CCRMA PhD)<br />
* Peer-to-peer query by humming (CS master's)<br />
* Performance analysis: Bach fugues (CCRMA PhD)<br />
* Phonology and music-notation mapping (CCRMA PhD)<br />
* Pitch-tracking for South Indian Classical Music (EE PhD)<br />
* Probabilistic style-simulation using trees (SSP undergraduate)<br />
* Perceptual of timbre (CCRMA PhD)<br />
* Real-time voice pitch tracking in Humdrum (MST undergrad)<br />
* Rhythmic pattern sort in RISM OPAC data (1.3 million incipits) (PhD collaborator)<br />
* Drumpfet acoustics (visiting Taiwanese researcher)<br />
* Searching lyrics in multimedia databases with Mandarin and English (CS PhD)<br />
* Style judgment by man and machine (EE PhD)<br />
* Stylistic traits of Pierre de la Rue's motets (Mus undergraduate)<br />
* Temporal calibration of <i>gagaku</i> (CCRMA MST)<br />
* Visualization methods for structural analysis (MA mathematics)<br />
* XML tools for <i>MuseData</i> and <i>Themefinder</i> (visiting Dutch researcher)<br />
<br />
= Ongoing research projects at CCARH = <br />
<br />
* Automatic PDF generation from encoded-score datasets <br />
* [http://purl.stanford.edu/br237mp4161 Harmonic visualization of musical structure] (Craig Sapp's Keyscapes)<br />
* [http://wiki.ccarh.org/wiki/MuseData:_Johann_Sebastian_Bach Bach edition, score, and analysis projects] in collaboration of national and international performing groups <br />
* [http://wiki.ccarh.org/wiki/MuseData:_Ludwig_van_Beethoven Beethoven symphony and string quartet edition, score, and analysis projects] <br />
* [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Corelli score, analysis, and visualization projects] <br />
* [http://www.cpebach.org/ CPE Bach data-translation projects] (in cooperation with the Packard Humanities Institute)<br />
* [http://www.musedata.org/cgi-bin/mdsearch?s=t&keyword=pdf%20haydn Haydn score projects] in collaboration of performing groups and style analysis specialists<br />
* Interactive search tools for the [http://josquin.stanford.edu/ Josquin Research Project] (in cooperation with Jesse Rodin)<br />
* [http://wiki.ccarh.org/wiki/Messiah Handel edition and score projects] in collaboration of national and international performing groups <br />
* [http://ichriss.ccarh.org/HRD/ Handel Reference Database] (in cooperation with Ilias Chrissochoidis)<br />
* [http://kern.ccarh.org/ KernScores] website for music analysis <br />
* [http://music-encoding.org/home Music Encoding Initiative] (in cooperation with the the University of Paderborn and the Detmold Hochschule für Musik)<br />
* MuseData documentation and development<br />
* Musical data translation (numerous projects and formats)<br />
* Online implementation of mensural notation <br />
* [https://opac.rism.info/metaopac/search.do;jsessionid=E8CF7EABC258F4FE86AADE26B4D2311C.touch01?emptyFields=false&SearchType=2&methodToCall=switchSearchPage RISM online melodic search] (in cooperation with the RISM Zentrum, Themefinder, Swiss RISM, and the Bavarian State Library ViFaMusik project)<br />
* Telemann edition and score projects in collaboration with the Telemann Zentrum <br />
* [http://www.themefinder.org Themefinder]<br />
* [http://verovio.humdrum.org Verovio] (in cooperation with the [http://music-encoding.org/tools/verovio/ Music Encoding Initiative (MEI)]) <br />
* [http://wiki.ccarh.org/wiki/MuseData:_Antonio_Vivaldi#Juditha_triumphans Vivaldi edition and score projects] in collaboration of national and international performing groups (CCARH staff)<br />
<br />
<br />
Previous front page: [http://www.ccarh.org/courses/254 http://www.ccarh.org/courses/254]</div>Edchttps://wiki.ccarh.org/index.php?title=Music_254&diff=10488Music 2542021-03-29T10:09:48Z<p>Edc: /* Data Contents */</p>
<hr />
<div>See also the [[Music 254/CS 275b Syllabus]].<br />
<br />
__TOC__<br />
<br />
<html><br />
<script><br />
var spans = document.querySelectorAll('h1 > span');<br />
console.log("LENGTH = ", spans.length);<br />
for (i=0; i<spans.length; i++) {<br />
if (spans[i].textContent === "Music 254") {<br />
spans[i].innerHTML = "Music 254: <span style='font-style: italic; font-size:80%;'>Music Query, Analysis, and Style Simulation</span>";<br />
}<br />
console.log(spans[i].textContent);<br />
}<br />
console.log("GOT HERE");<br />
</script><br />
</html><br />
<br />
=Introduction=<br />
<br />
==Overview==<br />
Music 254/CS 275B is a seminar offered to graduate students in music and in computer science in the spring quarter of each year. Its overall aim is to enable projects in computational music analysis using symbolic data. <br />
<br />
The first month requires regular class meetings, an introduction and preliminary exercises in the use of Humdrum, and individually assigned readings in an area of mutual interest. Individual weekly meetings replace lab time in the last half of the quarter. <br />
<br />
==Project topics==<br />
Projects and applications can be developed on the basis of any well documented encoding scheme and may draw on machine-readable information from an additional domain (gesture, audio, et al.). Music 254/CS 275B has been an incubator for software applications in such areas as melodic search in Western and non-Western repertories, polyphonic query, harmonic visualization, real-time analysis of pre-tonal and tonal music, generation of compositions based on specified styles and/or genres, and AI techniques in author/composer profiling, structural dissection of polyphonic scores, and feature-weighting approaches to MIR (music information retrieval). <br />
<br />
==Prerequisites==<br />
Successful completion of Music 253/CS 275A, Symbolic Musical Information, and graduate status or evidence of equivalent preparation.<br />
<br />
Previous programming experience is not necessary but is an asset. A working knowledge of musical notation and elementary concepts of music theory is essential. <br />
<br />
Familiarity with other recent work in the chosen project area is essential.<br />
<br />
==Historical background==<br />
Music 254/CS 275B has evolved over more than two decades from a seminar in music representation systems to a project-oriented sandbox for applications involving the use of symbolic (discrete) musical data. <br />
<br />
Music 253/CS 275A, offered in the winter quarter, delves into the details of representation schemes and code content for programs in music typesetting (SCORE, Finale, MuseScore), MIDI, interchange codes (MusicXML, MEI), and related methods of data acquisition including optical music recognition. A recent syllabus and description are [http://wiki.ccarh.org/wiki/Music_253 here].<br />
<br />
==Labs==<br />
Labs are focused on development of a project in computational musicology. Classes in the first half of the quarter focus on learning selected features of the comprehensive <i>Humdrum Toolkit</i> [http://csml.som.ohio-state.edu/Humdrum/talks/Humdrum.Toolkit/index.html] and the [https://verovio.humdrum.org/ <i>Verovio Humdrum Viewer</i>], which may be used to view music of interest in the project. Each project is adapted to the background and skills of the student. Users can also use other tools with which they are familiar or create their own new ones.<br />
<br />
==Data Contents==<br />
Data repositories of verified symbolic encodings include three that have been created locally:<br />
<br />
* <b>The [https://jrp.stanford.edu Josquin Research Project]</b> contains scores--mainly choral repertories composed by Josquin and his contemporaries. No lyrics. Encoded by humans for use with **kern and MuseData. Conversions to other formats include MIDI, MEI, et al.<br />
<br />
* [https://kern.ccarh.org <b><i>KernScores</i></b>] contains scores of Western European music--mainly for piano--classical period through early twentieth-century, with broad edges for earlier and later music. Optically recognized. Humdrum kern format native, with on-the-fly conversions to numerous other formats for notation and analysis.<br />
<br />
* [https://musedata.org/ <b><i>MuseData</i></b>] contains scores of Western European music--mainly for orchestra, ensemble, quartet, or mixed group--from 1700 to 1850 (e.g. Bach, Corelli, Vivaldi, Haydn, Beethoven, et al.) fully encoded by humans (with lyrics when pertinent) in the MuseData format, with conversions to several other formats. <br />
<br />
* [http://www.tassomusic.org/ <b>Tasso in Music</b>] contains literary texts by Torquato Tasso and musical settings by diverse composers through the year 1640.<br />
<br />
==Links and credits==<br />
The CCARH Lab (Braun Music Center #128) provides support for a wide range of notation and analysis applications, some of which may be useful for auxiliary tasks (scanning, printing, generating MIDI files, etc.). <br />
<br />
* <b>MuseData</b> (1985--): http://www.musedata.org. Format and printing system designed and implemented by Walter B. Hewlett. Currently holds 1,200 classical works (symphonies, chamber music, operas, oratorios). Hosted by CCARH (http://www.ccarh.org)<br />
<br />
* <b>Humdrum Toolkit</b> (1985): https://musiccog.ohio-state.edu/home/index.php/The_Humdrum_Toolkit. Itinitiated by David Huron. Hosted by the Ohio State University, with additional tools at CCARH.<br />
<br />
* <b>KernScores</b> (2001): http://kern.ccarh.org and http://kern.humdrum.org. Originated and maintained by Craig Sapp. Roughly 2,000 works (piano music, German and Chinese folksongs. Related [http://ismir2005.ismir.net/proceedings/3123.pdf literature].<br />
<br />
* <b>Josquin Research Project</b> (2010): http://jrp.stanford.edu. Initiated by Jesse Rodin, website developed and maintained by Craig Sapp. Currently contains c. 400 of a project 500 polyphonic works. <br />
<br />
* <b>Tasso in Music Project</b> (2015): http://www.tassomusic.org/. Initiated and directed by Emiliano Ricciardi, with technical implementation by Craig Sapp. Forty works of a prospective 600+ currently online. Entries organized by literary genres.<br />
<br />
==The <i>Humdrum Toolkit</i>==<br />
The Unix-based Humdrum Toolkit originated in the mid-1980s as a small set of commands that can be chained into series to produce concise information about changes inside an encoded musical score. Although the rudiments seem simple, the diversity of questions that can be posed and answered is potentially immense. Because Humdrum is now supported on three continents, CCARH recently constructed a Humdrum portal [http://http://humdrum.ccarh.org/] to link tools and documentation at diverse locations.<br />
<br />
=Course Topics=<br />
<br />
See also Recent Projects below.<br />
<br />
==Elements of Musical Style==<br />
What constitutes a musical style? As a classroom subject, <b>style</b> is often used as a lens through which to differentiate the work of different composers, genres, historical periods, places, schools of pedagogy, and so forth. It is an umbrella term to which almost any aspect of music can be related. While no one denies that the term is vague in its meaning, two individuals who have defined and articulated specific elements of musical style have also provided taxonomies that are inordinately useful in the development of computer programs for musical analysis.<br />
<br />
===LaRue's Rubrics of Style Analysis===<br />
The noted musicologist Jan LaRue (1918-2003)[http://www.ams-net.org/opus/LaRue.html] took a top-down approach to the musical work. His taxonomy of musical features embraces a wide range of musical phenomena, most of which are frequently pertinent to classical music of the past four centuries. In his Guidelines for Style Analysis: A Comprehensive Outline of Basic Principals for the Analysis of Musical Style (New York: W.W. Norton, 1970), LaRue fleshes out his 9-part skeleton into three layers of detail.<br />
<br />
= Humdrum Lab Pages =<br />
<br />
Go to the [[Humdrum Lab]] portal for a list of exercises to get up to speed with using the Humdrum Toolkit and other programs/environments to work with Humdrum data files.<br />
<br />
= Recent and current subjects of student and visitor research =<br />
<br />
Topic ideas and technological tools vary considerably from year to year. The wide scope of projects emerging from Mus 254/CS 275B is best represented by subjects pursued over the past decade.<br />
<br />
<small>Degree candidacy and program indicated by initials [CS = computer science, CCRMA = Center for Computer Research in Music and Acoustics, DMA = Doctor of Musical Arts, EE = Electrical Engineering, MST = Music, Science, and Technology program]</small><br />
<br />
* A geometric approach to content-based retrieval (CS Master's)<br />
* A database for chord recognition (CCRMA PhD)<br />
* A keyboard query system for <i>Themefinder</i> (MBA business)<br />
* A notation system for gesture (DMA)<br />
* A steel-drum teaching app for calypso (CS Master's)<br />
* A tabla transcription system (CCRMA PhD)<br />
* A transcription system for Turkish music (PhD physics)<br />
* Algorithmic realization of basso continuo using <i>partimento</i> theory (PhD medicine)<br />
* Analysis of ryoka (CCRMA MST)<br />
* Automatic accompaniment (CCRMA MST)<br />
* Automatic reduction from full to piano-vocal score (DMA)<br />
* Automatic score alignment, audio-symbolic data alignment (EE Master's)<br />
* Automatic synchonization of music and movement (CCRMA PhD)<br />
* Beat alignment (numerous, mainly CCRMA)<br />
* Contrapuntal analysis using the Hausdorff metric (CS MS)<br />
* Deep learning for analysis of musical structure (CS MS)<br />
* Deep metric structure (visiting German PhD)<br />
* Electronic composition for animations (visiting master's from Keio University)<br />
* Encoding system of music by Hildegard con Bingen (PhD visitor)<br />
* Encoding Zarlino's treatises with interactive music and sound (visiting Dutch PhD)<br />
* French chant in the Norman conquest of Southern Italy (visiting PhD from Italy in music/art history)<br />
* Generation of new Joplin rags (EE Master's)<br />
* Geospatial cluster analysis of meter in European folksong (Music PhD)<br />
* Harmonic Analysis and its Visualization (CCRMA PhD)<br />
* Harpsichord tuning systems in the Italian Baroque (Co-term Music/Math)<br />
* Interactive <i>Leitmotif</i> analysis tools with integrated score display and sound output (German CS master's)<br />
* Implementation of <i>Themefinder</i> search tools in the RISM search engine (visiting Swiss PhD in Music/CS) <br />
* Koto score software (visiting PhD candidate, Keio University)<br />
* Mapping of drum gesture (PhD CS)<br />
* Melodic analysis (PhD mathematics)<br />
* Metrical weights following Neumann, Lerdahl, and Volk (visiting German PhD) <br />
* Music synchronization in virtual reality (CCRMA PhD)<br />
* Peer-to-peer query by humming (CS master's)<br />
* Performance analysis: Bach fugues (CCRMA PhD)<br />
* Phonology and music-notation mapping (CCRMA PhD)<br />
* Pitch-tracking for South Indian Classical Music (EE PhD)<br />
* Probabilistic style-simulation using trees (SSP undergraduate)<br />
* Perceptual of timbre (CCRMA PhD)<br />
* Real-time voice pitch tracking in Humdrum (MST undergrad)<br />
* Rhythmic pattern sort in RISM OPAC data (1.3 million incipits) (PhD collaborator)<br />
* Drumpfet acoustics (visiting Taiwanese researcher)<br />
* Searching lyrics in multimedia databases with Mandarin and English (CS PhD)<br />
* Style judgment by man and machine (EE PhD)<br />
* Stylistic traits of Pierre de la Rue's motets (Mus undergraduate)<br />
* Temporal calibration of <i>gagaku</i> (CCRMA MST)<br />
* Visualization methods for structural analysis (MA mathematics)<br />
* XML tools for <i>MuseData</i> and <i>Themefinder</i> (visiting Dutch researcher)<br />
<br />
= Ongoing research projects at CCARH = <br />
<br />
* Automatic PDF generation from encoded-score datasets <br />
* [http://purl.stanford.edu/br237mp4161 Harmonic visualization of musical structure] (Craig Sapp's Keyscapes)<br />
* [http://wiki.ccarh.org/wiki/MuseData:_Johann_Sebastian_Bach Bach edition, score, and analysis projects] in collaboration of national and international performing groups <br />
* [http://wiki.ccarh.org/wiki/MuseData:_Ludwig_van_Beethoven Beethoven symphony and string quartet edition, score, and analysis projects] <br />
* [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Corelli score, analysis, and visualization projects] <br />
* [http://www.cpebach.org/ CPE Bach data-translation projects] (in cooperation with the Packard Humanities Institute)<br />
* [http://www.musedata.org/cgi-bin/mdsearch?s=t&keyword=pdf%20haydn Haydn score projects] in collaboration of performing groups and style analysis specialists<br />
* Interactive search tools for the [http://josquin.stanford.edu/ Josquin Research Project] (in cooperation with Jesse Rodin)<br />
* [http://wiki.ccarh.org/wiki/Messiah Handel edition and score projects] in collaboration of national and international performing groups <br />
* [http://ichriss.ccarh.org/HRD/ Handel Reference Database] (in cooperation with Ilias Chrissochoidis)<br />
* [http://kern.ccarh.org/ KernScores] website for music analysis <br />
* [http://music-encoding.org/home Music Encoding Initiative] (in cooperation with the the University of Paderborn and the Detmold Hochschule für Musik)<br />
* MuseData documentation and development<br />
* Musical data translation (numerous projects and formats)<br />
* Online implementation of mensural notation <br />
* [https://opac.rism.info/metaopac/search.do;jsessionid=E8CF7EABC258F4FE86AADE26B4D2311C.touch01?emptyFields=false&SearchType=2&methodToCall=switchSearchPage RISM online melodic search] (in cooperation with the RISM Zentrum, Themefinder, Swiss RISM, and the Bavarian State Library ViFaMusik project)<br />
* Telemann edition and score projects in collaboration with the Telemann Zentrum <br />
* [http://www.themefinder.org Themefinder]<br />
* [http://verovio.humdrum.org Verovio] (in cooperation with the [http://music-encoding.org/tools/verovio/ Music Encoding Initiative (MEI)]) <br />
* [http://wiki.ccarh.org/wiki/MuseData:_Antonio_Vivaldi#Juditha_triumphans Vivaldi edition and score projects] in collaboration of national and international performing groups (CCARH staff)<br />
<br />
<br />
Previous front page: [http://www.ccarh.org/courses/254 http://www.ccarh.org/courses/254]</div>Edchttps://wiki.ccarh.org/index.php?title=Music_254&diff=10487Music 2542021-03-29T10:01:19Z<p>Edc: /* Prerequesites */</p>
<hr />
<div>See also the [[Music 254/CS 275b Syllabus]].<br />
<br />
__TOC__<br />
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<br />
=Introduction=<br />
<br />
==Overview==<br />
Music 254/CS 275B is a seminar offered to graduate students in music and in computer science in the spring quarter of each year. Its overall aim is to enable projects in computational music analysis using symbolic data. <br />
<br />
The first month requires regular class meetings, an introduction and preliminary exercises in the use of Humdrum, and individually assigned readings in an area of mutual interest. Individual weekly meetings replace lab time in the last half of the quarter. <br />
<br />
==Project topics==<br />
Projects and applications can be developed on the basis of any well documented encoding scheme and may draw on machine-readable information from an additional domain (gesture, audio, et al.). Music 254/CS 275B has been an incubator for software applications in such areas as melodic search in Western and non-Western repertories, polyphonic query, harmonic visualization, real-time analysis of pre-tonal and tonal music, generation of compositions based on specified styles and/or genres, and AI techniques in author/composer profiling, structural dissection of polyphonic scores, and feature-weighting approaches to MIR (music information retrieval). <br />
<br />
==Prerequisites==<br />
Successful completion of Music 253/CS 275A, Symbolic Musical Information, and graduate status or evidence of equivalent preparation.<br />
<br />
Previous programming experience is not necessary but is an asset. A working knowledge of musical notation and elementary concepts of music theory is essential. <br />
<br />
Familiarity with other recent work in the chosen project area is essential.<br />
<br />
==Historical background==<br />
Music 254/CS 275B has evolved over more than two decades from a seminar in music representation systems to a project-oriented sandbox for applications involving the use of symbolic (discrete) musical data. <br />
<br />
Music 253/CS 275A, offered in the winter quarter, delves into the details of representation schemes and code content for programs in music typesetting (SCORE, Finale, MuseScore), MIDI, interchange codes (MusicXML, MEI), and related methods of data acquisition including optical music recognition. A recent syllabus and description are [http://wiki.ccarh.org/wiki/Music_253 here].<br />
<br />
==Labs==<br />
Labs are focused on development of a project in computational musicology. Classes in the first half of the quarter focus on learning selected features of the comprehensive <i>Humdrum Toolkit</i> [http://csml.som.ohio-state.edu/Humdrum/talks/Humdrum.Toolkit/index.html] and the [https://verovio.humdrum.org/ <i>Verovio Humdrum Viewer</i>], which may be used to view music of interest in the project. Each project is adapted to the background and skills of the student. Users can also use other tools with which they are familiar or create their own new ones.<br />
<br />
==Data Contents==<br />
Data repositories of verified symbolic encodings include three that have been created locally:<br />
<br />
* <b>The [https://jrp.stanford.edu Josquin Research Project]</b> contains scores--mainly choral repertories composed by Josquin and his contemporaries. No lyrics. Encoded by humans for use with **kern and MuseData. Conversions to other formats include MIDI, MEI, et al.<br />
<br />
* [https://kern.ccarh.org <b><i>KernScores</i></b>] contains scores of Western European music--mainly for piano--(classical period through early twentieth-century, with broad edges for earlier and later music. Optically recognized. Humdrum kern format native, with on-the-fly conversions to numerous other formats for notation and analysis.<br />
<br />
* [https://musedata.org/ <b><i>MuseData</i></b>] contains scores of Western European music--mainly for orchestra, ensemble, quartet, or mixed group--from 1700 to 1850 (e.g. Bach, Corelli, Vivaldi, Haydn, Beethoven, et al.) fully encoded by humans (with lyrics when pertinent) in the MuseData format, with conversions to several other formats. <br />
<br />
* [http://www.tassomusic.org/ <b>Tasso in Music</b>] contains literary texts by Torquato Tasso and musical settings by diverse composers through the year 1640.<br />
<br />
==Links and credits==<br />
The CCARH Lab (Braun Music Center #128) provides support for a wide range of notation and analysis applications, some of which may be useful for auxiliary tasks (scanning, printing, generating MIDI files, etc.). <br />
<br />
* <b>MuseData</b> (1985--): http://www.musedata.org. Format and printing system designed and implemented by Walter B. Hewlett. Currently holds 1,200 classical works (symphonies, chamber music, operas, oratorios). Hosted by CCARH (http://www.ccarh.org)<br />
<br />
* <b>Humdrum Toolkit</b> (1985): https://musiccog.ohio-state.edu/home/index.php/The_Humdrum_Toolkit. Itinitiated by David Huron. Hosted by the Ohio State University, with additional tools at CCARH.<br />
<br />
* <b>KernScores</b> (2001): http://kern.ccarh.org and http://kern.humdrum.org. Originated and maintained by Craig Sapp. Roughly 2,000 works (piano music, German and Chinese folksongs. Related [http://ismir2005.ismir.net/proceedings/3123.pdf literature].<br />
<br />
* <b>Josquin Research Project</b> (2010): http://jrp.stanford.edu. Initiated by Jesse Rodin, website developed and maintained by Craig Sapp. Currently contains c. 400 of a project 500 polyphonic works. <br />
<br />
* <b>Tasso in Music Project</b> (2015): http://www.tassomusic.org/. Initiated and directed by Emiliano Ricciardi, with technical implementation by Craig Sapp. Forty works of a prospective 600+ currently online. Entries organized by literary genres.<br />
<br />
==The <i>Humdrum Toolkit</i>==<br />
The Unix-based Humdrum Toolkit originated in the mid-1980s as a small set of commands that can be chained into series to produce concise information about changes inside an encoded musical score. Although the rudiments seem simple, the diversity of questions that can be posed and answered is potentially immense. Because Humdrum is now supported on three continents, CCARH recently constructed a Humdrum portal [http://http://humdrum.ccarh.org/] to link tools and documentation at diverse locations.<br />
<br />
=Course Topics=<br />
<br />
See also Recent Projects below.<br />
<br />
==Elements of Musical Style==<br />
What constitutes a musical style? As a classroom subject, <b>style</b> is often used as a lens through which to differentiate the work of different composers, genres, historical periods, places, schools of pedagogy, and so forth. It is an umbrella term to which almost any aspect of music can be related. While no one denies that the term is vague in its meaning, two individuals who have defined and articulated specific elements of musical style have also provided taxonomies that are inordinately useful in the development of computer programs for musical analysis.<br />
<br />
===LaRue's Rubrics of Style Analysis===<br />
The noted musicologist Jan LaRue (1918-2003)[http://www.ams-net.org/opus/LaRue.html] took a top-down approach to the musical work. His taxonomy of musical features embraces a wide range of musical phenomena, most of which are frequently pertinent to classical music of the past four centuries. In his Guidelines for Style Analysis: A Comprehensive Outline of Basic Principals for the Analysis of Musical Style (New York: W.W. Norton, 1970), LaRue fleshes out his 9-part skeleton into three layers of detail.<br />
<br />
= Humdrum Lab Pages =<br />
<br />
Go to the [[Humdrum Lab]] portal for a list of exercises to get up to speed with using the Humdrum Toolkit and other programs/environments to work with Humdrum data files.<br />
<br />
= Recent and current subjects of student and visitor research =<br />
<br />
Topic ideas and technological tools vary considerably from year to year. The wide scope of projects emerging from Mus 254/CS 275B is best represented by subjects pursued over the past decade.<br />
<br />
<small>Degree candidacy and program indicated by initials [CS = computer science, CCRMA = Center for Computer Research in Music and Acoustics, DMA = Doctor of Musical Arts, EE = Electrical Engineering, MST = Music, Science, and Technology program]</small><br />
<br />
* A geometric approach to content-based retrieval (CS Master's)<br />
* A database for chord recognition (CCRMA PhD)<br />
* A keyboard query system for <i>Themefinder</i> (MBA business)<br />
* A notation system for gesture (DMA)<br />
* A steel-drum teaching app for calypso (CS Master's)<br />
* A tabla transcription system (CCRMA PhD)<br />
* A transcription system for Turkish music (PhD physics)<br />
* Algorithmic realization of basso continuo using <i>partimento</i> theory (PhD medicine)<br />
* Analysis of ryoka (CCRMA MST)<br />
* Automatic accompaniment (CCRMA MST)<br />
* Automatic reduction from full to piano-vocal score (DMA)<br />
* Automatic score alignment, audio-symbolic data alignment (EE Master's)<br />
* Automatic synchonization of music and movement (CCRMA PhD)<br />
* Beat alignment (numerous, mainly CCRMA)<br />
* Contrapuntal analysis using the Hausdorff metric (CS MS)<br />
* Deep learning for analysis of musical structure (CS MS)<br />
* Deep metric structure (visiting German PhD)<br />
* Electronic composition for animations (visiting master's from Keio University)<br />
* Encoding system of music by Hildegard con Bingen (PhD visitor)<br />
* Encoding Zarlino's treatises with interactive music and sound (visiting Dutch PhD)<br />
* French chant in the Norman conquest of Southern Italy (visiting PhD from Italy in music/art history)<br />
* Generation of new Joplin rags (EE Master's)<br />
* Geospatial cluster analysis of meter in European folksong (Music PhD)<br />
* Harmonic Analysis and its Visualization (CCRMA PhD)<br />
* Harpsichord tuning systems in the Italian Baroque (Co-term Music/Math)<br />
* Interactive <i>Leitmotif</i> analysis tools with integrated score display and sound output (German CS master's)<br />
* Implementation of <i>Themefinder</i> search tools in the RISM search engine (visiting Swiss PhD in Music/CS) <br />
* Koto score software (visiting PhD candidate, Keio University)<br />
* Mapping of drum gesture (PhD CS)<br />
* Melodic analysis (PhD mathematics)<br />
* Metrical weights following Neumann, Lerdahl, and Volk (visiting German PhD) <br />
* Music synchronization in virtual reality (CCRMA PhD)<br />
* Peer-to-peer query by humming (CS master's)<br />
* Performance analysis: Bach fugues (CCRMA PhD)<br />
* Phonology and music-notation mapping (CCRMA PhD)<br />
* Pitch-tracking for South Indian Classical Music (EE PhD)<br />
* Probabilistic style-simulation using trees (SSP undergraduate)<br />
* Perceptual of timbre (CCRMA PhD)<br />
* Real-time voice pitch tracking in Humdrum (MST undergrad)<br />
* Rhythmic pattern sort in RISM OPAC data (1.3 million incipits) (PhD collaborator)<br />
* Drumpfet acoustics (visiting Taiwanese researcher)<br />
* Searching lyrics in multimedia databases with Mandarin and English (CS PhD)<br />
* Style judgment by man and machine (EE PhD)<br />
* Stylistic traits of Pierre de la Rue's motets (Mus undergraduate)<br />
* Temporal calibration of <i>gagaku</i> (CCRMA MST)<br />
* Visualization methods for structural analysis (MA mathematics)<br />
* XML tools for <i>MuseData</i> and <i>Themefinder</i> (visiting Dutch researcher)<br />
<br />
= Ongoing research projects at CCARH = <br />
<br />
* Automatic PDF generation from encoded-score datasets <br />
* [http://purl.stanford.edu/br237mp4161 Harmonic visualization of musical structure] (Craig Sapp's Keyscapes)<br />
* [http://wiki.ccarh.org/wiki/MuseData:_Johann_Sebastian_Bach Bach edition, score, and analysis projects] in collaboration of national and international performing groups <br />
* [http://wiki.ccarh.org/wiki/MuseData:_Ludwig_van_Beethoven Beethoven symphony and string quartet edition, score, and analysis projects] <br />
* [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Corelli score, analysis, and visualization projects] <br />
* [http://www.cpebach.org/ CPE Bach data-translation projects] (in cooperation with the Packard Humanities Institute)<br />
* [http://www.musedata.org/cgi-bin/mdsearch?s=t&keyword=pdf%20haydn Haydn score projects] in collaboration of performing groups and style analysis specialists<br />
* Interactive search tools for the [http://josquin.stanford.edu/ Josquin Research Project] (in cooperation with Jesse Rodin)<br />
* [http://wiki.ccarh.org/wiki/Messiah Handel edition and score projects] in collaboration of national and international performing groups <br />
* [http://ichriss.ccarh.org/HRD/ Handel Reference Database] (in cooperation with Ilias Chrissochoidis)<br />
* [http://kern.ccarh.org/ KernScores] website for music analysis <br />
* [http://music-encoding.org/home Music Encoding Initiative] (in cooperation with the the University of Paderborn and the Detmold Hochschule für Musik)<br />
* MuseData documentation and development<br />
* Musical data translation (numerous projects and formats)<br />
* Online implementation of mensural notation <br />
* [https://opac.rism.info/metaopac/search.do;jsessionid=E8CF7EABC258F4FE86AADE26B4D2311C.touch01?emptyFields=false&SearchType=2&methodToCall=switchSearchPage RISM online melodic search] (in cooperation with the RISM Zentrum, Themefinder, Swiss RISM, and the Bavarian State Library ViFaMusik project)<br />
* Telemann edition and score projects in collaboration with the Telemann Zentrum <br />
* [http://www.themefinder.org Themefinder]<br />
* [http://verovio.humdrum.org Verovio] (in cooperation with the [http://music-encoding.org/tools/verovio/ Music Encoding Initiative (MEI)]) <br />
* [http://wiki.ccarh.org/wiki/MuseData:_Antonio_Vivaldi#Juditha_triumphans Vivaldi edition and score projects] in collaboration of national and international performing groups (CCARH staff)<br />
<br />
<br />
Previous front page: [http://www.ccarh.org/courses/254 http://www.ccarh.org/courses/254]</div>Edchttps://wiki.ccarh.org/index.php?title=Music_252&diff=10486Music 2522021-03-29T06:43:51Z<p>Edc: /* Homework */</p>
<hr />
<div>__TOC__<br />
<br />
<b>Music 252: Introduction to Music Notation Software</b><br />
<br />
Music 252 is an introduction to music notation editing on computers, with a focus on the Finale and Sibelius programs. Students interested in learning only one of these two programs may take the class for one credit. No prior experience with these programs is required or expected, although being able to read music is. In addition, free alternatives to these two commercial music editors will be surveyed.<br />
<br />
Webpage: [http://music252.stanford.edu http://music252.stanford.edu]<br />
<br />
== Schedule ==<br />
<br />
The class meets from 10:00 to 11:50 a.m. on Wednesdays in Braun Music Building, room 128, during the Fall 2012 quarter.<br />
<center><br />
{| class="wikitable" style="text-align" width="400"<br />
|+ <b>Fall 2012</b><br />
|-<br />
! scope="row" | 1<br />
| Sep&nbsp;26&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;|| [[Finale Simple Note Entry |Finale 1: Simple Note Entry]]<br />
|- <br />
! scope="row" | 2<br />
| Oct &nbsp;&nbsp;3 || [[Finale Midi Entry | Finale 2: MIDI Entry]]<br />
|-<br />
! scope="row" | 3<br />
| Oct 10 || [[SharpEye | Finale 3: Scanning/MusicXML]]<br />
|-<br />
! scope="row" | 4<br />
| Oct 17 || [[Finale parameter editing | Finale 4: Fine Detail Editing]]<br />
|-<br />
! scope="row" | 5<br />
| Oct 24 || [[Noteflight]]/[[MuseScore]]<br />
|-<br />
! scope="row" | 6<br />
| Oct 31 || [[Sibelius Alphabetic Note Entry|Sibelius 1: Alphabetic Note Entry]]<br />
|-<br />
! scope="row" | 7<br />
| Nov &nbsp;&nbsp;7 || [[Sibelius MIDI Entry | Sibelius 2: Midi Entry]]<br />
|-<br />
! scope="row" | 8<br />
| Nov 14 || [[Sibelius_details |Sibelius 3: Editing]]<br />
|-<br />
! scope="row" | 9<br />
| Nov 29 || [[Sibelius_Editing_2 | Sibelius 4: Editing 2]]<br />
|-<br />
! scope="row" | 10<br />
| Dec &nbsp;&nbsp;5 || Non-interactive: [[Lilypond]]/[[ABC Plus | ABC]] / [[Guido Music Notation |Guido]] / [[muse2ps]]<br />
|}<br />
</center><br />
<br />
== Textbook ==<br />
<br />
* [http://www.amazon.com/exec/obidos/redirect?link_code=ur2&tag=themazurkapro-20&camp=1789&creative=9325&path=http%3A%2F%2Fwww.amazon.com%2Fgp%2Fproduct%2F0882847309 Essential Dictionary of Music Notation] by Tom Gerou and Linda Lusk. [http://www.amazon.com/exec/obidos/redirect?link_code=ur2&tag=themazurkapro-20&camp=1789&creative=9325&path=http%3A%2F%2Fwww.amazon.com%2Fgp%2Fproduct%2F0882847309 ISBN 0-88284-730-9]<br />
* [http://www.amazon.com/exec/obidos/redirect?link_code=ur2&tag=themazurkapro-20&camp=1789&creative=9325&path=http%3A%2F%2Fwww.amazon.com%2Fgp%2Fproduct%2F1423412001 Sibelius: A Comprehensive Guide to Sibelius Music Notation Software] by Thomas Rudolph and Vincent Leonard. [http://www.amazon.com/exec/obidos/redirect?link_code=ur2&tag=themazurkapro-20&camp=1789&creative=9325&path=http%3A%2F%2Fwww.amazon.com%2Fgp%2Fproduct%2F1423412001 ISBN 1-4234-1200-1]<br />
* Finale: [http://www.finalemusic.com/UserManuals/Finale2012Mac/Finale.htm Mac], [http://www.finalemusic.com/UserManuals/Finale2012Win/Finale.htm Windows] and Sibelius ([http://www.sibelius.com/download/documentation/pdfs/sibelius6-handbook-en.pdf Sibelius 6 Handbook as PDF]) online documentation and printed manuals found in lab.<br />
<br />
== Grading ==<br />
<br />
* 1 <tt>-</tt> 2 credits, Letter or Pass/Fail<br />
* 1 credit: come to 5 classes & do final project. (typically Finale section or Sibelius section).<br />
* 2 credit: come to 10 classes & do final project (both Finale section and Sibelius section).<br />
<br />
* Grading: <br />
** 50% class participation<br />
** 25% homework<br />
** 25% final project<br />
<br />
* Final project:<br />
** Typeset 5<tt>-</tt>10 pages of music, your choice, instructor's approval.<br />
** Preliminary project submission 12 noon, 3 December.<br />
** Final project submission due by 12 noon 12 December.<br />
<br />
== Homework ==<br />
<br />
Due in class one week after assigned.<br />
<br />
# Enter three songs from [http://books.google.com/books?id=_-gNAAAAIAAJ&printsec=frontcover#v=onepage&q&f=false Teton Sioux Music] by Frances Densmore using the computer keyboard with [[Finale_Simple_Note_Entry | Simple Note Entry]] in Finale. List of songs can be found on page xiii. The first song is on page 67. Choose at least one song which has triplets (tuplets) to try and figure out how to enter tuplet rhythms (<i>i.e.</i>, search the manual from the help menu).<br />
# Input a page (or less) of simple music of your choice into Finale using all three input methods presented in class so far ([[Finale Simple Note Entry|Simple]], [[Finale Midi Entry|Speedy]], [[Finale Midi Entry|HyperScribe]]). Be able to discuss at the next class meeting: Which method works best for you (as a novice user of Finale)? Which method would work best if you were equally familiar with all input methods?<br />
# Scan at least two pages of printed music of your choice and process with [[SharpEye]] (preferably using batch mode). Save the extracted symbolic data as a MusicXML file and load into Finale for final cleanup and printing. <i>Extra Credit</i>: Input the same music with one of the input methods presented in class (using the computer or MIDI keyboards). Is scanning or manual entry faster for the music you selected (speculate on the differences between novice and expert points of view)?<br />
# Typeset two of the example lines of music given in [[Media:FinaleParameters.pdf|this PDF file]] (not including the one done in class, of course). [[Finale_parameter_editing#Homework|See hints]]. Alternatively, choose an equivalent amount of music of your choice and my approval to do.<br />
# Typeset 1/2 to 1 page of music in [[Noteflight]] and [[MuseScore]] (either the same or different music). Email a link to these scores in your [http://www.noteflight.com Noteflight] and [http://www.musescore.com MuseScore] accounts. Also, transfer data from noteflight or MuseScore via MusicXML into Finale and print the music in Finale.<br />
# Input a page of music of your choice into Finale with alphabetic note input.<br />
# Input a page of a [http://kern.ccarh.org/cgi-bin/ksbrowse?type=collection&l=chopin/prelude Chopin prelude] using MIDI keyboard entry in Sibelius (only notes with no extra musical symbols).<br />
# Add all extra musical symbols to the music entered in the previous homework (slurs, dynamics, ornaments, articulations, layout, <i>etc</i>.).<br />
<br />
== Class resources ==<br />
<br />
* [[Finale Tips]] -- Tips for doing various things in Finale to avoid searching through the manual a second time...<br />
* [[Sibelius Keyboard Shortcuts|Sibelius keyboard shortcuts]]<br />
* [[Sibelius Tips]] -- Tips for doing various things in Sibelius to avoid searching through the manual a second time...<br />
* [[Notation program command comparisons]]<br />
<br />
== Links == <br />
* <b>Classes</b>:<br />
** [http://music253.stanford.edu Music 253]: Introduction to Musical Information<br />
** [http://music254.stanford.edu Music 254]: Computational Music Analysis<br />
<br />
* <b>Software</b>:<br />
** [http://www.finalemusic.com/ Finale] homepage: commercial music notation editor.<br />
** [http://www.sibelius.com Sibelius] homepage: commercial music notation editor.<br />
** [http://www.musescore.org MuseScore] homepage: free open-source music notation editor.<br />
** [http://www.noteflight.com Noteflight] homepage: online free/subscription music notation editor.<br />
** [http://lilypond.org Lilypond] homepage: free open-source music notation renderer.<br />
** [http://abcplus.sourceforge.net ABC plus] project: musical data format designed for folksongs, with basic polyphonic capabilities that can be graphically rendered with [http://moinejf.free.fr/ abcm2ps].<br />
** [http://www.salieri.org/GUIDO Guido] homepage: musical data format with an online graphical renderer ([http://www.noteserver.org Noteserver]).<br />
** [http://www.visiv.co.uk/ SharpEye] homepage: Music scanning program.<br />
** [http://www.makemusic.com/musicxml MusicXML] homepage: Music data format for transferring music notation information between programs.<br />
* <b>Other notation software not covered in the class</b>:<br />
** [http://en.wikipedia.org/wiki/SCORE_%28software%29 SCORE] wikipedia page: professional music typesetting editor (covered in [[Music 253]]).<br />
** [[Dmuse]]: [http://en.wikipedia.org/wiki/Integrated_development_environment IDE] for music/text data editing and notation rendering of musical data in the [http://www.ccarh.org/publications/books/beyondmidi/online/musedata/ MuseData] format ([[muse2ps]], command-line implementation).<br />
** [http://www.arkkra.com/ MUP] homepage: shareware graphical notation renderer.</div>Edchttps://wiki.ccarh.org/index.php?title=Dmuse&diff=10485Dmuse2021-03-27T20:05:28Z<p>Edc: </p>
<hr />
<div>__TOC__<br />
<br />
Dmuse is an [http://en.wikipedia.org/wiki/Integrated_development_environment Integrated Development Environment] for text editing/processing and graphical music notation rendering of [[MuseData]], with a built-in interpretive programming language called [[zbex]]. Here is a screenshot of dmuse, showing some text typed into the text editor in window 0:<br />
<br />
[[File:dmuse-window0.png|500px|thumb|center|dmuse window 0 with some text typed into it.]]<br />
<br />
<br />
== Download ==<br />
<br />
Dmuse and related programs can be [[Dmuse:_Download | downloaded from this page]].<br />
<br />
== Dmuse User Guide ==<br />
<br />
<div style="column-count:2;-moz-column-count:2;-webkit-column-count:2"><br />
# [[Dmuse: Overview | Overview and history of Dmuse]]<br />
# [[Dmuse: Download | Downloading and installing Dmuse]]<br />
# [[Dmuse: Organization | File organization and init file for Dmuse]]<br />
# [[Dmuse: Getting started | Getting started with Dmuse]]<br />
# [[Dmuse: Editor | Text editing capabilities of Dmuse]]<br />
# [[Dmuse: Zbex | Running zbex programs in Dmuse]]<br />
# [[Dmuse: MuseData organization | MuseData file organization]]<br />
# [[Dmuse: Text printing | How to print text files from within Dmuse]]<br />
# [[Dmuse: Score printing | How to print a score in Dmuse]]<br />
# [[Dmuse: CFT File Creation and Extraction| How to convert between CFT files and page files]]<br />
# [[Dmuse: Parts printing | How to print instrumental parts in Dmuse]]<br />
# [[Dmuse: Score creation | How to create a score in Dmuse]]<br />
# [[Dmuse: Parts creation | How to create instrumental parts in Dmuse]]<br />
# [[Dmuse: MIDI entry | How to enter music with a MIDI keyboard ]]<br />
# [[Dmuse: MIDI files | How to create MIDI files from MuseData]]<br />
</div><br />
<br />
== Dmuse File Formats ==<br />
<br />
* [[Dmuse text files]]<br />
* MuseData [[stage1]] files: Preliminary musical data created by MIDI keyboard entry.<br />
* MuseData [[stage2]] files: The primary musical data storage format.<br />
* [[i-files]]: Intermediate graphical notation format, created by [[autoset]] from [[stage2]] files.<br />
* [[page files]]: Page description files for graphical notation, created by [[mskpage]] from [[i-files]].<br />
* [[dmuse fonts]]<br />
<br />
== Dmuse Zbex Programs ==<br />
<br />
* [[autoset]]: Converts [[stage2]] files into [[i-files]] in preparation for music printing.<br />
* [[mskpage]]: Converts [[i-files]] into [[page files]] for graphical music notation printing.<br />
* [[eskpage]]: On-screen graphical music editor editor that displays and edits [[page files]].<br />
* [[vskpage]]: Further processing of [[page files]] which adjusts the inter-staff and inter-system spacing on pages. Generates a file called [[scform]] which is used to create an [[MuseData edition | edition]] using [[vspace]].<br />
* [[vspace]]: Takes [[scform]] data file [[vskpage]] and processes [[page files]] to generate an [[edition]] which is a set of refined [[page files]].<br />
* [[autoload]]: Downloads fonts to a PCL printer. Must be run before using [[pskpage]].<br />
* [[pskpage]]: Prints [[page files]] to a PCL printer.<br />
* [[dskpage]]: Similar to [[pskpage]], but displays [[page files]] as graphical music notation on the screen rather than printing.<br />
* Some program to generate parts? Or has that merged into mskpage? Mainly has to do with multi-rests.<br />
<br />
== Dmuse Reference Manual ==<br />
<br />
* [[Dmuse: Key commands | Dmuse Keyboard command list]]<br />
* [[Dmuse: INIT|Dmuse INIT file]]<br />
* [[Dmuse: Menu bar | Dmuse Menu bar]]<br />
* [[Dmuse: File manager | Resident file manager]]<br />
* [[Dmuse: Color and upper-ASCII codes | Color and character byte codes in Dmuse text files]]<br />
* [[Zbex programming language]]<br />
<br />
<div style="column-count:2;-moz-column-count:2;-webkit-column-count:2">{{Zbex chapter list}}</div><br />
* [[CCARH data formats]]: [[MuseData file specification]]<br />
<br />
== Dmuse internal documentation ==<br />
<br />
* [[Dmuse: Browser display test|Browser display test]]<br />
<br />
=== Dmuse help menu documentation ===<br />
<br />
Files in dmuse/doc/help:<br />
<br />
<div style="column-count:3;-moz-column-count:3;-webkit-column-count:3"><br />
* [[Media:Intro.html | Introduction to Dmuse]]<br />
* [[Media:Using.html | Using the Screen Editor]]<br />
* [[Media:Quick.html | Editor quick reference]]<br />
* [[Media:Manager.html | Resident File Manager ]]<br />
* [[Media:Mpg.html | MPG file format]]<br />
* [[Media:Cft.html | CFT file format]]<br />
* [[Media:Tiff.html | TIFF file format]]<br />
* [[Media:Topics.html | Advanced Topics]] (Wordwrap, INIT, Dictionaries, Zbex)<br />
* [[Media:New.html | New Directions]]<br />
* [[Media:Display.html | Displaying music]]<br />
* [[Media:Print.html | Printing music]]<br />
</div><br />
<br />
=== File format specifications ===<br />
<br />
Files in dmuse/doc/specs:<br />
<br />
* [[Media:Stage2-specs.html | MuseData Stage2 file specification]]<br />
* [[Media:I-files.html | I-file file specification]] (Intermediate file)<br />
* [[Media:Mpg-specs.html | MPG file specification]] (Music PaGe)<br />
* [[Media:Cft-specs.html |CFT file specification]] (Compressed FormaT)<br />
<br />
=== Program documentation ===<br />
<br />
Files in dmuse/doc/progdoc:<br />
<br />
* [[Media:Read-me-1st.html | Introduction to Music Typsetting]]<br />
* [[Media:Edmake.html | Music Processing, from Stage1 to Final Edition]] 28 April 2009<br />
* [[Media:Mprogs.html | Relationships among music typesetting programs]] 30 Nov 2009<br />
* [[Media:S2ed.html | Documentation for the s2ed program]] 29 April 2009<br />
* [[Media:Run-vspc.html | Instructions for running vspace.z]]<br />
* [[Media:Run-vskp.html | Instructions for running vskpage.z]]<br />
* [[Media:Run-pskp.html | Instructions for running pskpage.z]]<br />
* [[Media:Run-mskp.html | Instructions for running mskpage.z]]<br />
* [[Media:Run-dskp.html | Instructions for running dskpage.z]]<br />
* [[Media:Run-auto.html | Instructions for running autoset.z]]<br />
* [[Media:Eskpage.html | Instructions for the eskpage program]]<br />
* [[Media:Edform.html | Edform]]<br />
<br />
== Other ==<br />
<br />
* [[Dmuse: feature requests | Dmuse feature requests]]<br />
* [[Dmuse: quirks | Quirky behaviors in Dmuse ]]</div>Edchttps://wiki.ccarh.org/index.php?title=MuseData:_Antonio_Vivaldi&diff=10484MuseData: Antonio Vivaldi2021-03-27T19:13:36Z<p>Edc: /* Op. 10: VI Concerti a flauto traverso */</p>
<hr />
<div>__TOC__<br />
<br />
<br />
==Published Sonatas and Concertos==<br />
Antonio Lucio Vivaldi (1678-1741) is best known to modern audiences for his instrumental music. Like most composers of his time, Vivaldi composed in the formal medium of the sonata in his earliest publications (from 1703). His reputation was propelled by his concertos, the earliest of which appeared in 1711. This is still the genre with which he is most widely associated. <br />
<br />
===Op. 1: <i>Suonate da camera a trè, due violini e violone o cembalo</i>===<br />
Vivaldi's twelve sonatas Op. 1 are presumed to have been published prior to his appointment as <i>maestro di violino</i> at the Ospedale della Pietà, Venice, because he is described without reference to the institution as "<i>musico di violino, professore veneto</i>" (a violinist and teacher in the Veneto). The works were dedicated to the count Annibale Gambara, one of five sons in a big family of noblemen from Brescia (the city in which Vivaldi's father was born), a provincial capital in the western Veneto. The Gambara also had a modest palace on the Grand Canal in the Venetian parish of San Barnabà. <br />
<br />
[[File:Op1-12_Folia_V1.png|400px|thumb|center|Excerpt from the Violino primo (first violin) part of the Folìa of Vivaldi's Sonata Op. 1, No. 12 (Venice: Giuseppe Sala, 1705). Image from the partbook in the Conservatorio Benedetto Marcello, Venice. Used by permission.]]<br />
<br />
These trio sonatas contained various numbers of movements (3 to 6), most in binary form. The four outer works (Nos. 1, 2, 11, and 12) were in minor keys, the others in major ones. The best known work is Op. 1, No. 12, which features an ambitious <i>folìa</i> movement at its conclusion. The earliest surviving print of Op. 1 was published in Venice (G. Sala) in 1705. The collection was reprinted in Amsterdam in 1723 (E. Roger, as print No. 363), in Paris in 1759 (Le Clerc), and in Austria in 1759. Many movements are brief and musically simple, so much so that were one to judge from this opus alone, one would not have anticipated the kind of success that Vivaldi later found.<br />
<br />
{{VivaldiOp1PDF}}<br />
<br />
===Op. 2: <i>Sonate a violino e basso per il cembalo</i>===<br />
[[File:Carlevaris_FredIV_viaGetty-Google.png|575px|thumb|left|Detail of Luca Carlevaris's depiction of the regatta held on the Grand Canal, Venice, for Frederick IV of Denmark (1709). Reproduction of public-domain image from the Getty Museum as shown in the Google Art project.]]<br />
<br />
The trio sonata, over which Vivaldi had exhibited his command in Op. 1, had been the most prevalent instrumental genre of the 1690s, but in the first decade of the eighteenth century interest began to gravitate towards the "solo" sonata--a work in several movements for one ensemble instrument and a basso continuo. In this 1709 collection by the Venetian publisher Antonio Bortoli, Vivaldi pursued a more expressive vein of musical enticement. The opus was dedicated to the visiting young monarch Frederick IV of Denmark. As prince of Schleswig-Holstein, his extended stay drew much artistic attention. No fewer than three operas were dedicated to him. <br />
<br />
Seven of these sonatas were cast in minor keys. The movement structure remained variable. Vivaldi was moving in the direction of fewer movements but with greater musical elaboration within each movement. He was still described as <i>musico di violino</i> but also as <i>maestro dei concerti</i> (concertmaster) of the Ospedale della Pietà. <br />
<br />
{{VivaldiOp2PDF}}<br />
<br />
Like Op. 1, Op. 2 had a long afterlife in both reprints and manuscript copies, mainly abroad. These included the publications of E. Roger (Amsterdam, 1712) and several editions (1721-1730) by I. Walsh J. Young (London).<br />
<br />
===Op. 3: <i>L'estro armonico: Concerti</i>=== <br />
[[File:Ferdinando_de'_Medici_c1687_Cassana.jpg|300px|thumb|right|Portrait of Ferdinando de' Medici, grand prince of Tuscany, in c. 1687 by the Venetian painter Niccolò Cassana. Wikimedia Commons.]]<br />
<br />
The first concertos by Vivaldi to reach print were those of Opus 3 (Amsterdam, 1711). With them Vivaldi suddenly became a celebrity, for although he was well known as a virtuoso, his previously published works had found a relatively modest reception. Vivaldi's titles remained as they were in Op. 2. Most composers described the contents of a publication in sufficient detail to indicate instrumentation, but Vivaldi settled for the word "Concerti" in order to allow space for the titles of his patron, the Grand Prince of Tuscany, [http://it.wikipedia.org/wiki/Ferdinando_de%27_Medici#Teatro Ferdinando III (1663-1713)]. The Grand Prince, who led a flamboyant life, enjoyed his visits to Venice, where however he contracted syphilis in 1696. This led to his premature death and changed the course of Tuscan (and imperial) history. Meanwhile, however, his patronage of music benefited many composers of the time including [http://en.wikipedia.org/wiki/Tomaso_Albinoni Tomaso Albinoni (1671-1751)], [http://en.wikipedia.org/wiki/Handel George Frideric Handel (1685-1759)], and [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Alessandro Scarlatti (1660-1725)]. His Bavarian wife, [http://it.wikipedia.org/wiki/Violante_Beatrice_di_Baviera Violante Beatrice (1673-1731)], was in many ways a still more significant supporter of individual singers and instrumentalists. <br />
<br />
Having now completed eight years of teaching at the [[Ospedale of the Pietà]] in Venice, Vivaldi shows himself to have experimented with a variety of approaches to textures and groupings of instruments. These twelve works are arranged cyclically, such that Nos. 1, 4, 7, and 10 are scored for four violins and string orchestra; Nos. 2, 5, 8, and 11 for two violins, violoncello, and string orchestra; and Nos. 3, 6, 9, and 12 for solo violin (Violino Principale) and string orchestra. Within the <i>concertino</i> groups (four violins or, alternatively, two violins and violoncello), there is further separation. The "four violins" model often involves the pairing of the instruments such that one duo imitates another. This kind of experimentation is suggested by the word <i>estro</i>, which refers to gestational properties whereby one musical passage generates the need for the next. In musical terms, the sophistication of the idea represented an enormous step forward for Vivaldi, whose first sonatas were primitive and somewhat generic by comparison. <br />
<br />
Additionally, the music was more cogent than before, the organization manifestly rational. The imaginative scoring, careful markup, and newly pungent musical effects were novelties not found in Opp. 1 or 2. If he had leaned on the familiar models of [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Arcangelo Corelli (1753-1713)] before, Vivaldi was now producing music that was novel, ambitious, and aesthetically pleasing. Largely in coincidence with this publication, Vivaldi's concerts at the Pietà began to win plaudits from a succession of visiting dignitaries from abroad. <br />
<br />
Within the context of the early concerto, Op. 3 was equally noteworthy. The now elderly Corelli had perfected the <i>concerto grosso</i> [his [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli#The_Concerti_grossi_Op._6 Op. 6] would be published only posthumously in 1714]. Vivaldi's concertos for two and four violins had some debts to these works, but his concertos for solo violin and orchestra did not have Corellian models to follow. The trumpet concertos by [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Giuseppe Torelli (1658-1709)] are an oft mentioned alternative model, but Vivaldi's skills at articulation and exhibitionism were unrivaled. The violin was capable of much greater subtlety than the trumpet. <br />
<br />
====Dissemination of Individual Works from Op. 3====<br />
The <i>Concerti</i> Op. 3 were so popular that the entire opus was reprinted in Amsterdam within a year. Other reprints followed in both London and Paris through 1751. Because of the cyclical rotation of different combinations of instruments from work to work, individual pieces in Op. 3 led themselves to diverse uses. The basic organization is shown in the table. Parsed one way, it is a four-fold cycle of three works. The textures vary with the instrumentation.<br />
<br />
Several works from Opus 3 took on lives of their own. Six works (indicated by an asterisk*) were transcribed by J. S. Bach, and there are faint clues that Bach may have transcribed them all. Bach was highly sensitive to the cyclical instrumentation of Vivaldi's collection: Nos 1, 4, 7, and 10 were set for two pairs of solo violins; Nos. 2, 5, 8, and 11 for a trio of soloists (two violins and violoncello); Nos. 3, 6, 9, and 12 for principal violin, in all cases with string orchestra. As the table below shows, Bach chose the second type for an organ adaptation and the third type for concertos for harpsichord and strings, while the first type served as a model for his lone concerto for four harpsichords and strings. The trio sonata, which was at its peak in the years 1700-1710, was a popular reservoir for organ transcriptions in Germany, but the other adaptations had no such currency. Concertos for four harpsichords were unknown. <br />
<br />
Wide circulation of Vivaldi's concertos was further stimulated by John Walsh's edition of Op. 3 in <i>c.</i> 1715. In this print, the order of Nos. 6-9 was altered so that these concertos became Nos. 8, 9, 6, and 7. The clavichord transcriptions of Anne Dawson include many works in Vivaldi's Opp. 3 and 4 and show a further dimension of the music's adaptation. Numerous transcriptions and copies survive in Europe and North America.<br />
<br />
====CCARH Scores and Parts for Opus 3====<br />
[[File:Op3DoverCover.jpg|100px||left]]<br />
<br />
CCARH cooperated with Dover Publications Inc. in producing the scores that appear in <i>L'estro armonico: Twelve Concertos for Violins and String Orchestra, Op. 3</i>. The cover is shown below. The collection entitled <i>L'estro armonico</i> was the first title under Vivaldi's name to draw widespread attention. It is likely that some of the works had already been performed in selected gatherings. They were profusely copied, arranged, and reprinted (with numerous variants) over the next few decades. <br />
<br />
For bound paper copies, see Vivaldi, Antonio. <i>"L'Estro armonico", Op. 3 in Full Score: 12 Concertos for Violins and String Orchestra</i>, ed. Eleanor Selfridge-Field (Mineola, New York: Dover Publications; 1999). Available from Amazon [http://www.amazon.com/exec/obidos/tg/detail/-/0486406318/themefinder/002-2800507-6138416 ISBN 0-486-40631-8] and Dover [http://store.doverpublications.com/review.html?pr_page_id=0486406318 ISBN 0-486-40631-8].<br />
</ul><br />
<br />
{{VivaldiOp3PDF}}<br />
<br><br />
<br />
===Op. 4: <i>La Stravaganza: Concerti in six parts</i>===<br />
Vivaldi's violin concertos Op. 4 (announced in London on January 1, 1715) achieved a much broader penetration of the European market than any previous publication of his music. The collection, published in Amsterdam as Estienne Roger's prints Nos. 399 and 400, bore the title <i>La Stravaganza</i> (The Extravaganza), a designation popular at the time. In musical contexts it usually referred to chromatic harmonies, but in Vivaldi's case it forewarned prospective players of the challenges posed, epsecially for the principal violinist. (Up to this time, Roger had principally offered trio sonatas and concerti grossi, which were less demanding.) <br />
<br />
Op. 4 was a compendium of virtuoso techniques that were popularized by Vivaldi, who, as a performer, was known far and wide for his daring. His near-peers in this regard were violinist-composers such as Tomaso Albinoni and Lodovico Madonis, but their most demanding works appeared some years later and were less widely distributed. Op. 4 was dedicated to a Venetian nobleman, Vettor Delfin, whose family were largely engaged in military affairs. With only one exception (Op. 4, No. 7), the concertos were written in three movements. <br />
<br />
At the time Op. 4 appeared, Vivaldi had been filling holes left by the departure of [http://it.wikipedia.org/wiki/Francesco_Gasparini Francesco Gasparini (1661-1727)] at the Pietà. He was now turning his attention to motets and oratorios <i>per force</i> to bridge the gap left by Gasparini. It is therefore likely that most of these pieces were composed before the elder <i>maestro</i>'s departure. Reprints of Op. 4 appeared in 1723, 1728, and 1730, but selected individual works enjoyed independent circulation. Vivaldi had now reached the point where demand for his instrumental music exceeded the amount of time he could afford to devote to it. It may be for this reason that echoes of Op. 4 appear in a few later works by Vivaldi. Op. 7, No. 1, for example, was a first cousin of Op. 4, No. 9; myriad other variants of this set were quoted in later works. The cumulative effect was a splintering of work-identities that still confuse musicians today. Vivaldi himself adapted many of his works to suit new purposes as appropriate occasions arose. <br />
<br />
{{VivaldiOp4PDF}}<br />
<br />
===Op. 5: <i>VI Sonate/quatro à violino solo e basso e due a due violini e basso continuo</i>===<br />
Four of the six sonatas of Op. 5, published in Amsterdam (1716) as Estienne Roger's print No. 418, may have been remainders of Vivaldi's Op. 2, an opus consisting of a dozen solo violin sonatas. In Op. 5 we find four solo sonatas and two trio sonatas. During the visit of the young Danish king Frederick Christian IV to Venice in the winter of 1709, a great many banquets and balls were planned. Easily half of them were canceled either by hosts or guests because many people (including the doge and one of the Republic's official hosts) died. No autograph material for this opus survives. Op. 2 had been dedicated to Frederick Christian, but Op. 5 was an orphan of sorts. It contained a mixed repertory, lacked a dedicatee, and found insufficient popularity to prompt reprints. Few works were copied in manuscript. An exception was the first movement of Op. 5, No. 6, which was included in J. B. Cartier's <i>L'Art du Violon</i> (Paris, 1798). <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 5, No. 1 || RV 18 || Sonata / V, Bc || F Major || Example<br />
|-<br />
| Op. 5, No. 2 || RV 30 || Sonata / V, Bc || A Major || Example<br />
|-<br />
| Op. 5, No. 3 || RV 33 || Sonata / V, Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 4 || RV 35 || Sonata / V, Bc || B Minor || Example<br />
|-<br />
| Op. 5, No. 5 || RV 76 || Sonata / V1, V2, Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 6 || RV 72 || Sonata / V1, V2, Bc || G Minor || Example<br />
|}<br />
<br />
===Op. 6: <i>VI Concerti à cinque strumenti: 3 violini, alto viola, e basso continuo</i>===<br />
The six concertos for violin and strings of Op. 6, published in Amsterdam in 1716-1717 by Jeanne Roger (as her firm's print No. 452) represent both a continuation and a departure. The instrumental requirements are identical to those of Op. 4: they require a principal violin and a small string orchestra. This short collection could have served as a supplement to Op. 4, given the pattern set by Opp. 2 and 5 (another short set). The absence of a dedicatee and sundry details of the music suggest that Vivaldi did not actively seek this publication and that the print was therefore unauthorized. Mme. Roger heralded Vivaldi's titles as <i>maestro di violino</i> and <i>maestro di concerti</i> at the Pietà. <br />
<br />
Musically, five of the six works are in minor keys. Again forming a parallel with Op. 5, it was not followed by myriad other editions, although Le Cène brought out one (undated) reprint.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 6, No. 1 || RV 324 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 2 || RV 259 || Converto / VPr; V1 V2 Va Vc Org || C Minor || Example<br />
|-<br />
| Op. 6, No. 3 || RV 318 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 4 || RV 216 || Concerto / VPr; V1 V2 Va Vc Org || D Major || Example<br />
|-<br />
| Op. 6, No. 5 || RV 280 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || Example<br />
|-<br />
| Op. 6, No. 6 || RV 239 || Concerto / VPr; V1 V2 Va Vc Org || D Minor || Example<br />
|}<br />
<br />
===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===<br />
<br />
Vivsaldi's 12 concertos <i>a 5</i> (meaning three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for the solo episodes of the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained three movements. One can see that Vivaldi's idea of concerto had evolved considerably over a decade. The oboe arrangements of Nos. 1 and No. 7, as well as No. 9 (reset for oboe in a later opus) are now considered spurious. <br />
<br />
As scores passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his concertos began to take on a life of their own. No. 1 was revised by Johann Pisendel (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden Hofkapelle. <br />
No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro." No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in Walsh & Hare's anthology <i>Select Harmony</i> (1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work incudes a written cadenza. It was also transcribed by J. S. Bach for organ as BWV 594. Parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 7, No. 1 || RV 465 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 143 || Example<br />
|-<br />
| Op. 7, No. 2 || RV 188 || Concerto / VPr; V1 V2 Va Vc Org || C Major || || Example<br />
|-<br />
| Op. 7, No. 3 || RV 326 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || RV 370 || Example<br />
|-<br />
| Op. 7, No. 4 || RV 354 || Concerto / VPr; V1 V2 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 7, No. 5 || RV 285a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 285 || Example<br />
|-<br />
| Op. 7, No. 6 || RV 374 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 7, No. 7 || RV 464 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 142 || Example<br />
|-<br />
| Op. 7, No. 8 || RV 299 || Concerto / VPr; V1 V2 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 7, No. 9 || RV 373 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 153 || Example<br />
|-<br />
| Op. 7, No. 10 || RV 294a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 294 || Example<br />
|-<br />
| Op. 7, No. 11 || RV 208a || Concerto / VPr; V1 V2 Va Vc Org || D Major || BWV 594 (organ) || Example<br />
|-<br />
| Op. 7, No. 12 || RV 214 || Concerto / VPr; V1 V2 Va Vc Org || D Major || || Example<br />
|}<br />
<br />
===Op. 8: <i>Il cimento dell'armonia e dell'invenzione: Concerti a quattro e cinque</i>===<br />
Vivaldi's most famous opus was published in Amsterdam by Michel Charles Le Cène in 1725. It is clear, though, that various portions of sundry works had been written earlier. What was perhaps new was the formalization of the scheme, complete with the texts of the sonnets with which they were coordinated, of the first four concertos--The Four Seasons. These works, and their cyclical organization, captured the imagination of many and led to a "Four Seasons" industry of arrangements and performances that extends to the current day. <br />
<br />
Unlike other opuses that postdated Vivaldi's move to Mantua, this one resumed the practice of dedicating the collection to a nobleman, in this case Venceslas, count of Morzin (also Morcin, spelled Marzin in the print itself). Two concertos known only in manuscript, RV 449 and 496, were also dedicated to the count. <br />
He was Bohemian with townhouses in Prague and Vienna. He was an occasional patron of Venetian opera. Prague, the capital of Bohemia, was a thriving city with rapidly developing enterprises focused on opera and on the development of string music. One can see how poetic justice prevailed in this dedication: Bohemians not only loved music but were happy to master its component parts. <br />
<br />
This opus was more popular in France than anywhere else. Parisian reprints issued from the presses of Madame Boivin (c. 1739, 1743, 1748). Manuscripts were widely circulated. Rearrangements of portions of the opus were also proliferated. In Dresden, the orchestration of some works was enriched by Johann Pisendel, who also elaborated some of the articulation. <br />
<br />
In the works as a set, major keys predominate. Nos. 7, 9, and 11 are known in alternative versions. The final of movement of Op. 8, No. 11 presents a particularly complex web of revisions to the alternation of tutti and solo. <br />
<br />
====CCARH Parts for Op. 8====<br />
The following parts for Antonio Vivaldi's Op.8 concerti accompany the full score available from Dover Publications:<br />
<br />
* Vivaldi, Antonio. "The Four Seasons" and Other Violin Concertos in Full Score; Opus 8, Complete. Ed. by Eleanor Selfridge-Field. Mineola, New York: Dover Publications; 1995. ISBN 0-486-28638-X.<br />
<br />
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{{VivaldiOp8PDFTable}}<br />
</center><br />
<br><br />
<br />
===Op. 9: <i>La cetra. Concerti</i>===<br />
Vivaldi's Concertos Op. 9, published in Amsterdam by Michel Charles Le Cène in Vols. 533 and 534 (datable from 1727), have the distinction of having been dedicated to the emperor Charles VI. The two met two years later in Trieste, where the emperor was more enraptured by Vivaldi's music and the intelligence with which he discussed it than with the diplomatic matters at hand. Op. 9 is easily confused with a contemporary set of twelve unpublished concertos for violin also called "La Cetra," that Vivaldi presented to the Emperor during his 1729 visit, as part of a diplomatic delegation, to Trieste. <br />
<br />
The works of Op. 9 were not so widely circulated as those of other recent volumes of Vivaldi's music, and a few were not new. (Three of the works were known in alternative versions.) The popularity of the "Four Seasons" concertos (Op. 8, Nos. 1-4) blinded the public to Vivaldi's future prints, while Vivaldi's own interest in publishing instrumental music was also in decline after the appearance of this collection. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 9, No. 1 || RV 181a || [VPr]; V1 V2 V3 Va Vc Org || C Major || RV 180 || Example<br />
|-<br />
| Op. 9, No. 2 || RV 375 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 3 || RV 334 || [VPr]; V1 V2 V3 Va Vc Org || G Minor || || Example<br />
|-<br />
| Op. 9, No. 4 || RV 263a || [VPr]; V1 V2 V3 Va Vc Org || E Major || RV 263 || Example<br />
|-<br />
| Op. 9, No. 5 || RV 358 || [VPr]; V1 V2 V3 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 9, No. 6 || RV 348 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 7 || RV 359 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 8 || RV 238 || [VPr]; V1 V2 V3 Va Vc Org || D Minor || || Example<br />
|-<br />
| Op. 9, No. 9 || RV 530 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 10 || RV 300 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 9, No. 11 || RV 198a || [VPr]; V1 V2 V3 Va Vc Org || C Minor || RV 198 || Example<br />
|-<br />
| Op. 9, No. 12 || RV 391 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|}<br />
<br />
The part for <i>Violino Principale</i> is lost, although a manuscript part-book for it survives for a few works.<br />
<br />
===Op. 10: <i>VI Concerti a flauto traverso</i>===<br />
Six Concertos for Flute and String Orchestra, Op. 10; Related Variants<br />
<br />
As published, Vivaldi's Opus 10 is a straightforward collection of concertos for flute and string orchestra. <br />
Most works which originally called for obbligato flutes seem to have originated during the early 1720s, perhaps reflecting opportunities that Vivaldi encountered in Rome, where he stayed intermittently between c. 1719 and 1724. Although the transverse flute was then little known in Italy, the availability of an excellent player was essential for the execution of several of his works for it. <br />
<br />
Opus 10 appeared in 1729, in rough coincidence with Vivaldi's violin concertos Opp. 11 and 12, but most of the works are likely to have been composed years earlier. All three volumes were published in Amsterdam. Although each published set was designed for a market oriented towards a standardized, relatively neutral instrumentation, the origins of the individual works were heterogeneous. The indications suggested by the related concertos listed on the lower half of the chart do not include subtle differences of instrumental alternatives and/or pairings--for example, an independent oboe part vs. an oboe part duplicating a second violin, a separate cello part vs. an unspecified Basso, and so forth. These are among the kinds of details that have necessitated separate listings for works that are musically similar. One manuscript source for No. 3 is scored for recorder rather than violin.<br />
<br />
The transverse flute and the recorder were both associated with a certain freedom of timbral choice. The so-called chamber concertos (RV 570, 90, and 101) for flute (or recorder), oboe, bassoon, violin, and bass can be understood to signify this sense of free play, rather than to represent a sub-genre cast in concrete. Although Vivaldi's chamber concertos had few analogues during Vivaldi's lifetime, they paved the way to a rich chamber repertory in the later eighteenth century.<br />
<br />
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{{VivaldiOpl0PDFTable}}<br />
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<br />
The first three works are the best known ones of the collection, but their nicknames accrued over time. Their programmatic allusions are largely confirmed in associated manuscripts. Storms at sea and phantoms of the night (the images cultivated by the first two pieces) were staples of opera staging at Venice's Teatro Sant'Angelo, the Venetian theater with which Vivaldi and his father were most consistently associated. Both played a prominent role in Venetian scene paintings contemporary with Vivaldi. <br />
<br />
The representation of sleep in the fourth movement of Op 10, No. 2, is illustrative of a fascination with dreams and the supernatural that was probed cautiously on the stage because of the pervasive scrutiny of religious censors. However, the dramatization of darkness fed Sant'Angelo's penchant for grottoes and grotesque scenes. It is darkness that the bassoon invokes in the manuscript RV 501 (the loose analogue of No. 2), where the key is Bb Major rather than G Minor.<br />
<br />
Vivaldi's depictions of bird-calls (in Op. 10, No. 3 a bullfinch) were prevalent not only in his concertos but also in his operas, and in dozens of works by other composers of the time. Though elsewhere they often suggested the formal gardens that were so much promoted by the aristocracy, in Vivaldi's case they are more often a natural depiction of bucolic habitats consistent with the imagery of Arcadian shepherds than of programmed landscapes abroad. <br />
<br />
The <i>sopranino</i> recorder concerto RV 444 is a unique work among Vivaldi's <i>oeuvre</i>, although it could easily have been adapted to a different soloist. It would have suited a virtuoso of considerable renown.<br />
<br />
The parts provided here correspond to the Dover Publication entitled <i>Six Concertos for Flute and String Orchestra, Op. 10, and Related Variants</i>.<br />
<br />
===Op. 11: <i>Sei concerti</i>===<br />
In Opp. 11 and 12 Vivaldi returned to the practice of publishing six works at a time. His earlier 12-work prints are usually presented as two books of six, but there were practical benefits to grouping the works into two sets. Opp. 11 and 12 appear to be cut from the same cloth and may have been intended as a single publication. They appeared with consecutive print numbers (Nos. 545, 546) from presses of Michel Charles Le Cène in 1729. In comparison to all of Vivaldi's music printed since 1711 they were poorly circulated.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Related works !! Score <br />
|-<br />
| Op. 11, No. 1 || RV 207 || Concerto / VPr; V1 V2 Va Vc Bc || D Major || || Example<br />
|-<br />
| Op. 11, No. 2 || RV 277 || Concerto / VPr; V1 V2 Va Vc Bc || E Minor || Nicknamed "Il Favorito" || Example<br />
|-<br />
| Op. 11, No. 3 || RV 336 || Concerto / VPr; V1 V2 Va Vc Bc || A Major || || Example <br />
|-<br />
| Op. 11, No. 4 || RV 308 || Concerto / VPr; V1 V2 Va Vc Bc || G Major || || Example <br />
|-<br />
| Op. 11, No. 5 || RV 202 || Concerto / VPr; V1 V2 Va Vc Bc || G Minor || || Example <br />
|-<br />
| Op. 11, No. 6 || RV 260 || Concerto / VPr; V1 V2 Va Vc Bc || C Minor || Op. 9, No. 3 (RV 334) || Example<br />
|}<br />
<br />
===Op. 12: <i>Sei concerti</i>===<br />
Vivaldi's six concertos Op. 12 (1729) represent the final printed publication of his music. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 12, No. 1 || RV 317 || Concerto / VPr V1 V2 Va Vc Bc || G Minor || Example<br />
|-<br />
| Op. 12, No. 2 || RV 244 || Concerto / VPr V1 V2 Va Vc Bc || D Minor || Example<br />
|-<br />
| Op. 12, No. 3 || RV 124 || Concerto / VPr V1 V2 Va Vc Bc || D Major || Example<br />
|-<br />
| Op. 12, No. 4 || RV 173 || Concerto / VPr V1 V2 Va Vc Bc || C Major || Example<br />
|-<br />
| Op. 12, No. 5 || RV 379 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 12, No. 6 || RV 361 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|}<br />
<br />
==Unpublished instrumental works==<br />
<br />
The number of Vivaldi's unpublished instrumental pieces greatly exceeds those that were printed in the composer's lifetime. They generally follow the same lines and populate the same genres of sonata and concerto. The two most conspicuous differences between the published and unpublished works are that dates of composition are more difficult to pin down for the manuscript works and nearly all of the works with obbligato wind parts were never published. <br />
<br />
Why were works with obbligato winds not published in Vivaldi's time? The demand for works with wind parts was much lower, while learning to play the violin was a popular activity among noblemen. Numerous accounts of special occasions note the addition of local amateur players to orchestras for serenatas and sinfonias. Learning to play a bowed instrument conferred a certain prestige on the fledgling performer. <br />
<br />
In Italy wind instruments, which were not readily available, were required in music for particular kinds of ceremonies or scenes in operas. Nasal reeds, such as the oboe, were used in funeral music or to signify impending doom. Recorders and cross-flutes were associated with peasants and with dancing. Bassoons could signify the underworld. Among brasses, trumpets had been used discreetly to represent military advances and triumphs since before Vivaldi was born, but their appearances were few. <br />
<br />
Vivaldi's interactions with musicians from north of the Alps provided him with incentives to score parts for oboes, bassoons, recorders, cross-flutes, and other novel instruments. He also adapted some of his concertos with a wind instrument instead of a principal violin. Op. 10 is the only print that shows off his wind interests here, but the menu of works related to that set of six (grouped here with Op. 10) shows the latitude (or lack thereof) in adaptations. <br />
<br />
Yet in Italy the idea of using these different timbres together with strings was one that remained somewhat foreign at the end of Vivaldi's life. In his operas, winds were usually deployed in pairs. Quite often their use was limited to opening performances, when entrance fees were higher. Because their players were paid one night at a time, the wind parts did not always survive. Modern editions represent optimal versions of the work at hand, but the fact that many wind parts have only one or two solo episodes in an entire work and otherwise double string parts allows for some latitude in interpretation and some accommodation of strained circumstances.<br />
<br />
=Oratorios=<br />
== [http://wiki.ccarh.org/wiki/Juditha_triumphans <i>Juditha triumphans</i>] ==<br />
<br />
Click title to see separate webpage.<br />
<br />
= References =</div>Edchttps://wiki.ccarh.org/index.php?title=MuseData:_Antonio_Vivaldi&diff=10483MuseData: Antonio Vivaldi2021-03-27T12:32:53Z<p>Edc: /* Op. 10: VI Concerti a flauto traverso */</p>
<hr />
<div>__TOC__<br />
<br />
<br />
==Published Sonatas and Concertos==<br />
Antonio Lucio Vivaldi (1678-1741) is best known to modern audiences for his instrumental music. Like most composers of his time, Vivaldi composed in the formal medium of the sonata in his earliest publications (from 1703). His reputation was propelled by his concertos, the earliest of which appeared in 1711. This is still the genre with which he is most widely associated. <br />
<br />
===Op. 1: <i>Suonate da camera a trè, due violini e violone o cembalo</i>===<br />
Vivaldi's twelve sonatas Op. 1 are presumed to have been published prior to his appointment as <i>maestro di violino</i> at the Ospedale della Pietà, Venice, because he is described without reference to the institution as "<i>musico di violino, professore veneto</i>" (a violinist and teacher in the Veneto). The works were dedicated to the count Annibale Gambara, one of five sons in a big family of noblemen from Brescia (the city in which Vivaldi's father was born), a provincial capital in the western Veneto. The Gambara also had a modest palace on the Grand Canal in the Venetian parish of San Barnabà. <br />
<br />
[[File:Op1-12_Folia_V1.png|400px|thumb|center|Excerpt from the Violino primo (first violin) part of the Folìa of Vivaldi's Sonata Op. 1, No. 12 (Venice: Giuseppe Sala, 1705). Image from the partbook in the Conservatorio Benedetto Marcello, Venice. Used by permission.]]<br />
<br />
These trio sonatas contained various numbers of movements (3 to 6), most in binary form. The four outer works (Nos. 1, 2, 11, and 12) were in minor keys, the others in major ones. The best known work is Op. 1, No. 12, which features an ambitious <i>folìa</i> movement at its conclusion. The earliest surviving print of Op. 1 was published in Venice (G. Sala) in 1705. The collection was reprinted in Amsterdam in 1723 (E. Roger, as print No. 363), in Paris in 1759 (Le Clerc), and in Austria in 1759. Many movements are brief and musically simple, so much so that were one to judge from this opus alone, one would not have anticipated the kind of success that Vivaldi later found.<br />
<br />
{{VivaldiOp1PDF}}<br />
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===Op. 2: <i>Sonate a violino e basso per il cembalo</i>===<br />
[[File:Carlevaris_FredIV_viaGetty-Google.png|575px|thumb|left|Detail of Luca Carlevaris's depiction of the regatta held on the Grand Canal, Venice, for Frederick IV of Denmark (1709). Reproduction of public-domain image from the Getty Museum as shown in the Google Art project.]]<br />
<br />
The trio sonata, over which Vivaldi had exhibited his command in Op. 1, had been the most prevalent instrumental genre of the 1690s, but in the first decade of the eighteenth century interest began to gravitate towards the "solo" sonata--a work in several movements for one ensemble instrument and a basso continuo. In this 1709 collection by the Venetian publisher Antonio Bortoli, Vivaldi pursued a more expressive vein of musical enticement. The opus was dedicated to the visiting young monarch Frederick IV of Denmark. As prince of Schleswig-Holstein, his extended stay drew much artistic attention. No fewer than three operas were dedicated to him. <br />
<br />
Seven of these sonatas were cast in minor keys. The movement structure remained variable. Vivaldi was moving in the direction of fewer movements but with greater musical elaboration within each movement. He was still described as <i>musico di violino</i> but also as <i>maestro dei concerti</i> (concertmaster) of the Ospedale della Pietà. <br />
<br />
{{VivaldiOp2PDF}}<br />
<br />
Like Op. 1, Op. 2 had a long afterlife in both reprints and manuscript copies, mainly abroad. These included the publications of E. Roger (Amsterdam, 1712) and several editions (1721-1730) by I. Walsh J. Young (London).<br />
<br />
===Op. 3: <i>L'estro armonico: Concerti</i>=== <br />
[[File:Ferdinando_de'_Medici_c1687_Cassana.jpg|300px|thumb|right|Portrait of Ferdinando de' Medici, grand prince of Tuscany, in c. 1687 by the Venetian painter Niccolò Cassana. Wikimedia Commons.]]<br />
<br />
The first concertos by Vivaldi to reach print were those of Opus 3 (Amsterdam, 1711). With them Vivaldi suddenly became a celebrity, for although he was well known as a virtuoso, his previously published works had found a relatively modest reception. Vivaldi's titles remained as they were in Op. 2. Most composers described the contents of a publication in sufficient detail to indicate instrumentation, but Vivaldi settled for the word "Concerti" in order to allow space for the titles of his patron, the Grand Prince of Tuscany, [http://it.wikipedia.org/wiki/Ferdinando_de%27_Medici#Teatro Ferdinando III (1663-1713)]. The Grand Prince, who led a flamboyant life, enjoyed his visits to Venice, where however he contracted syphilis in 1696. This led to his premature death and changed the course of Tuscan (and imperial) history. Meanwhile, however, his patronage of music benefited many composers of the time including [http://en.wikipedia.org/wiki/Tomaso_Albinoni Tomaso Albinoni (1671-1751)], [http://en.wikipedia.org/wiki/Handel George Frideric Handel (1685-1759)], and [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Alessandro Scarlatti (1660-1725)]. His Bavarian wife, [http://it.wikipedia.org/wiki/Violante_Beatrice_di_Baviera Violante Beatrice (1673-1731)], was in many ways a still more significant supporter of individual singers and instrumentalists. <br />
<br />
Having now completed eight years of teaching at the [[Ospedale of the Pietà]] in Venice, Vivaldi shows himself to have experimented with a variety of approaches to textures and groupings of instruments. These twelve works are arranged cyclically, such that Nos. 1, 4, 7, and 10 are scored for four violins and string orchestra; Nos. 2, 5, 8, and 11 for two violins, violoncello, and string orchestra; and Nos. 3, 6, 9, and 12 for solo violin (Violino Principale) and string orchestra. Within the <i>concertino</i> groups (four violins or, alternatively, two violins and violoncello), there is further separation. The "four violins" model often involves the pairing of the instruments such that one duo imitates another. This kind of experimentation is suggested by the word <i>estro</i>, which refers to gestational properties whereby one musical passage generates the need for the next. In musical terms, the sophistication of the idea represented an enormous step forward for Vivaldi, whose first sonatas were primitive and somewhat generic by comparison. <br />
<br />
Additionally, the music was more cogent than before, the organization manifestly rational. The imaginative scoring, careful markup, and newly pungent musical effects were novelties not found in Opp. 1 or 2. If he had leaned on the familiar models of [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Arcangelo Corelli (1753-1713)] before, Vivaldi was now producing music that was novel, ambitious, and aesthetically pleasing. Largely in coincidence with this publication, Vivaldi's concerts at the Pietà began to win plaudits from a succession of visiting dignitaries from abroad. <br />
<br />
Within the context of the early concerto, Op. 3 was equally noteworthy. The now elderly Corelli had perfected the <i>concerto grosso</i> [his [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli#The_Concerti_grossi_Op._6 Op. 6] would be published only posthumously in 1714]. Vivaldi's concertos for two and four violins had some debts to these works, but his concertos for solo violin and orchestra did not have Corellian models to follow. The trumpet concertos by [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Giuseppe Torelli (1658-1709)] are an oft mentioned alternative model, but Vivaldi's skills at articulation and exhibitionism were unrivaled. The violin was capable of much greater subtlety than the trumpet. <br />
<br />
====Dissemination of Individual Works from Op. 3====<br />
The <i>Concerti</i> Op. 3 were so popular that the entire opus was reprinted in Amsterdam within a year. Other reprints followed in both London and Paris through 1751. Because of the cyclical rotation of different combinations of instruments from work to work, individual pieces in Op. 3 led themselves to diverse uses. The basic organization is shown in the table. Parsed one way, it is a four-fold cycle of three works. The textures vary with the instrumentation.<br />
<br />
Several works from Opus 3 took on lives of their own. Six works (indicated by an asterisk*) were transcribed by J. S. Bach, and there are faint clues that Bach may have transcribed them all. Bach was highly sensitive to the cyclical instrumentation of Vivaldi's collection: Nos 1, 4, 7, and 10 were set for two pairs of solo violins; Nos. 2, 5, 8, and 11 for a trio of soloists (two violins and violoncello); Nos. 3, 6, 9, and 12 for principal violin, in all cases with string orchestra. As the table below shows, Bach chose the second type for an organ adaptation and the third type for concertos for harpsichord and strings, while the first type served as a model for his lone concerto for four harpsichords and strings. The trio sonata, which was at its peak in the years 1700-1710, was a popular reservoir for organ transcriptions in Germany, but the other adaptations had no such currency. Concertos for four harpsichords were unknown. <br />
<br />
Wide circulation of Vivaldi's concertos was further stimulated by John Walsh's edition of Op. 3 in <i>c.</i> 1715. In this print, the order of Nos. 6-9 was altered so that these concertos became Nos. 8, 9, 6, and 7. The clavichord transcriptions of Anne Dawson include many works in Vivaldi's Opp. 3 and 4 and show a further dimension of the music's adaptation. Numerous transcriptions and copies survive in Europe and North America.<br />
<br />
====CCARH Scores and Parts for Opus 3====<br />
[[File:Op3DoverCover.jpg|100px||left]]<br />
<br />
CCARH cooperated with Dover Publications Inc. in producing the scores that appear in <i>L'estro armonico: Twelve Concertos for Violins and String Orchestra, Op. 3</i>. The cover is shown below. The collection entitled <i>L'estro armonico</i> was the first title under Vivaldi's name to draw widespread attention. It is likely that some of the works had already been performed in selected gatherings. They were profusely copied, arranged, and reprinted (with numerous variants) over the next few decades. <br />
<br />
For bound paper copies, see Vivaldi, Antonio. <i>"L'Estro armonico", Op. 3 in Full Score: 12 Concertos for Violins and String Orchestra</i>, ed. Eleanor Selfridge-Field (Mineola, New York: Dover Publications; 1999). Available from Amazon [http://www.amazon.com/exec/obidos/tg/detail/-/0486406318/themefinder/002-2800507-6138416 ISBN 0-486-40631-8] and Dover [http://store.doverpublications.com/review.html?pr_page_id=0486406318 ISBN 0-486-40631-8].<br />
</ul><br />
<br />
{{VivaldiOp3PDF}}<br />
<br><br />
<br />
===Op. 4: <i>La Stravaganza: Concerti in six parts</i>===<br />
Vivaldi's violin concertos Op. 4 (announced in London on January 1, 1715) achieved a much broader penetration of the European market than any previous publication of his music. The collection, published in Amsterdam as Estienne Roger's prints Nos. 399 and 400, bore the title <i>La Stravaganza</i> (The Extravaganza), a designation popular at the time. In musical contexts it usually referred to chromatic harmonies, but in Vivaldi's case it forewarned prospective players of the challenges posed, epsecially for the principal violinist. (Up to this time, Roger had principally offered trio sonatas and concerti grossi, which were less demanding.) <br />
<br />
Op. 4 was a compendium of virtuoso techniques that were popularized by Vivaldi, who, as a performer, was known far and wide for his daring. His near-peers in this regard were violinist-composers such as Tomaso Albinoni and Lodovico Madonis, but their most demanding works appeared some years later and were less widely distributed. Op. 4 was dedicated to a Venetian nobleman, Vettor Delfin, whose family were largely engaged in military affairs. With only one exception (Op. 4, No. 7), the concertos were written in three movements. <br />
<br />
At the time Op. 4 appeared, Vivaldi had been filling holes left by the departure of [http://it.wikipedia.org/wiki/Francesco_Gasparini Francesco Gasparini (1661-1727)] at the Pietà. He was now turning his attention to motets and oratorios <i>per force</i> to bridge the gap left by Gasparini. It is therefore likely that most of these pieces were composed before the elder <i>maestro</i>'s departure. Reprints of Op. 4 appeared in 1723, 1728, and 1730, but selected individual works enjoyed independent circulation. Vivaldi had now reached the point where demand for his instrumental music exceeded the amount of time he could afford to devote to it. It may be for this reason that echoes of Op. 4 appear in a few later works by Vivaldi. Op. 7, No. 1, for example, was a first cousin of Op. 4, No. 9; myriad other variants of this set were quoted in later works. The cumulative effect was a splintering of work-identities that still confuse musicians today. Vivaldi himself adapted many of his works to suit new purposes as appropriate occasions arose. <br />
<br />
{{VivaldiOp4PDF}}<br />
<br />
===Op. 5: <i>VI Sonate/quatro à violino solo e basso e due a due violini e basso continuo</i>===<br />
Four of the six sonatas of Op. 5, published in Amsterdam (1716) as Estienne Roger's print No. 418, may have been remainders of Vivaldi's Op. 2, an opus consisting of a dozen solo violin sonatas. In Op. 5 we find four solo sonatas and two trio sonatas. During the visit of the young Danish king Frederick Christian IV to Venice in the winter of 1709, a great many banquets and balls were planned. Easily half of them were canceled either by hosts or guests because many people (including the doge and one of the Republic's official hosts) died. No autograph material for this opus survives. Op. 2 had been dedicated to Frederick Christian, but Op. 5 was an orphan of sorts. It contained a mixed repertory, lacked a dedicatee, and found insufficient popularity to prompt reprints. Few works were copied in manuscript. An exception was the first movement of Op. 5, No. 6, which was included in J. B. Cartier's <i>L'Art du Violon</i> (Paris, 1798). <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 5, No. 1 || RV 18 || Sonata / V, Bc || F Major || Example<br />
|-<br />
| Op. 5, No. 2 || RV 30 || Sonata / V, Bc || A Major || Example<br />
|-<br />
| Op. 5, No. 3 || RV 33 || Sonata / V, Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 4 || RV 35 || Sonata / V, Bc || B Minor || Example<br />
|-<br />
| Op. 5, No. 5 || RV 76 || Sonata / V1, V2, Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 6 || RV 72 || Sonata / V1, V2, Bc || G Minor || Example<br />
|}<br />
<br />
===Op. 6: <i>VI Concerti à cinque strumenti: 3 violini, alto viola, e basso continuo</i>===<br />
The six concertos for violin and strings of Op. 6, published in Amsterdam in 1716-1717 by Jeanne Roger (as her firm's print No. 452) represent both a continuation and a departure. The instrumental requirements are identical to those of Op. 4: they require a principal violin and a small string orchestra. This short collection could have served as a supplement to Op. 4, given the pattern set by Opp. 2 and 5 (another short set). The absence of a dedicatee and sundry details of the music suggest that Vivaldi did not actively seek this publication and that the print was therefore unauthorized. Mme. Roger heralded Vivaldi's titles as <i>maestro di violino</i> and <i>maestro di concerti</i> at the Pietà. <br />
<br />
Musically, five of the six works are in minor keys. Again forming a parallel with Op. 5, it was not followed by myriad other editions, although Le Cène brought out one (undated) reprint.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 6, No. 1 || RV 324 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 2 || RV 259 || Converto / VPr; V1 V2 Va Vc Org || C Minor || Example<br />
|-<br />
| Op. 6, No. 3 || RV 318 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 4 || RV 216 || Concerto / VPr; V1 V2 Va Vc Org || D Major || Example<br />
|-<br />
| Op. 6, No. 5 || RV 280 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || Example<br />
|-<br />
| Op. 6, No. 6 || RV 239 || Concerto / VPr; V1 V2 Va Vc Org || D Minor || Example<br />
|}<br />
<br />
===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===<br />
<br />
Vivsaldi's 12 concertos <i>a 5</i> (meaning three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for the solo episodes of the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained three movements. One can see that Vivaldi's idea of concerto had evolved considerably over a decade. The oboe arrangements of Nos. 1 and No. 7, as well as No. 9 (reset for oboe in a later opus) are now considered spurious. <br />
<br />
As scores passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his concertos began to take on a life of their own. No. 1 was revised by Johann Pisendel (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden Hofkapelle. <br />
No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro." No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in Walsh & Hare's anthology <i>Select Harmony</i> (1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work incudes a written cadenza. It was also transcribed by J. S. Bach for organ as BWV 594. Parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 7, No. 1 || RV 465 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 143 || Example<br />
|-<br />
| Op. 7, No. 2 || RV 188 || Concerto / VPr; V1 V2 Va Vc Org || C Major || || Example<br />
|-<br />
| Op. 7, No. 3 || RV 326 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || RV 370 || Example<br />
|-<br />
| Op. 7, No. 4 || RV 354 || Concerto / VPr; V1 V2 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 7, No. 5 || RV 285a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 285 || Example<br />
|-<br />
| Op. 7, No. 6 || RV 374 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 7, No. 7 || RV 464 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 142 || Example<br />
|-<br />
| Op. 7, No. 8 || RV 299 || Concerto / VPr; V1 V2 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 7, No. 9 || RV 373 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 153 || Example<br />
|-<br />
| Op. 7, No. 10 || RV 294a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 294 || Example<br />
|-<br />
| Op. 7, No. 11 || RV 208a || Concerto / VPr; V1 V2 Va Vc Org || D Major || BWV 594 (organ) || Example<br />
|-<br />
| Op. 7, No. 12 || RV 214 || Concerto / VPr; V1 V2 Va Vc Org || D Major || || Example<br />
|}<br />
<br />
===Op. 8: <i>Il cimento dell'armonia e dell'invenzione: Concerti a quattro e cinque</i>===<br />
Vivaldi's most famous opus was published in Amsterdam by Michel Charles Le Cène in 1725. It is clear, though, that various portions of sundry works had been written earlier. What was perhaps new was the formalization of the scheme, complete with the texts of the sonnets with which they were coordinated, of the first four concertos--The Four Seasons. These works, and their cyclical organization, captured the imagination of many and led to a "Four Seasons" industry of arrangements and performances that extends to the current day. <br />
<br />
Unlike other opuses that postdated Vivaldi's move to Mantua, this one resumed the practice of dedicating the collection to a nobleman, in this case Venceslas, count of Morzin (also Morcin, spelled Marzin in the print itself). Two concertos known only in manuscript, RV 449 and 496, were also dedicated to the count. <br />
He was Bohemian with townhouses in Prague and Vienna. He was an occasional patron of Venetian opera. Prague, the capital of Bohemia, was a thriving city with rapidly developing enterprises focused on opera and on the development of string music. One can see how poetic justice prevailed in this dedication: Bohemians not only loved music but were happy to master its component parts. <br />
<br />
This opus was more popular in France than anywhere else. Parisian reprints issued from the presses of Madame Boivin (c. 1739, 1743, 1748). Manuscripts were widely circulated. Rearrangements of portions of the opus were also proliferated. In Dresden, the orchestration of some works was enriched by Johann Pisendel, who also elaborated some of the articulation. <br />
<br />
In the works as a set, major keys predominate. Nos. 7, 9, and 11 are known in alternative versions. The final of movement of Op. 8, No. 11 presents a particularly complex web of revisions to the alternation of tutti and solo. <br />
<br />
====CCARH Parts for Op. 8====<br />
The following parts for Antonio Vivaldi's Op.8 concerti accompany the full score available from Dover Publications:<br />
<br />
* Vivaldi, Antonio. "The Four Seasons" and Other Violin Concertos in Full Score; Opus 8, Complete. Ed. by Eleanor Selfridge-Field. Mineola, New York: Dover Publications; 1995. ISBN 0-486-28638-X.<br />
<br />
<center><br />
{{VivaldiOp8PDFTable}}<br />
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<br><br />
<br />
===Op. 9: <i>La cetra. Concerti</i>===<br />
Vivaldi's Concertos Op. 9, published in Amsterdam by Michel Charles Le Cène in Vols. 533 and 534 (datable from 1727), have the distinction of having been dedicated to the emperor Charles VI. The two met two years later in Trieste, where the emperor was more enraptured by Vivaldi's music and the intelligence with which he discussed it than with the diplomatic matters at hand. Op. 9 is easily confused with a contemporary set of twelve unpublished concertos for violin also called "La Cetra," that Vivaldi presented to the Emperor during his 1729 visit, as part of a diplomatic delegation, to Trieste. <br />
<br />
The works of Op. 9 were not so widely circulated as those of other recent volumes of Vivaldi's music, and a few were not new. (Three of the works were known in alternative versions.) The popularity of the "Four Seasons" concertos (Op. 8, Nos. 1-4) blinded the public to Vivaldi's future prints, while Vivaldi's own interest in publishing instrumental music was also in decline after the appearance of this collection. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 9, No. 1 || RV 181a || [VPr]; V1 V2 V3 Va Vc Org || C Major || RV 180 || Example<br />
|-<br />
| Op. 9, No. 2 || RV 375 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 3 || RV 334 || [VPr]; V1 V2 V3 Va Vc Org || G Minor || || Example<br />
|-<br />
| Op. 9, No. 4 || RV 263a || [VPr]; V1 V2 V3 Va Vc Org || E Major || RV 263 || Example<br />
|-<br />
| Op. 9, No. 5 || RV 358 || [VPr]; V1 V2 V3 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 9, No. 6 || RV 348 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 7 || RV 359 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 8 || RV 238 || [VPr]; V1 V2 V3 Va Vc Org || D Minor || || Example<br />
|-<br />
| Op. 9, No. 9 || RV 530 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 10 || RV 300 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 9, No. 11 || RV 198a || [VPr]; V1 V2 V3 Va Vc Org || C Minor || RV 198 || Example<br />
|-<br />
| Op. 9, No. 12 || RV 391 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|}<br />
<br />
The part for <i>Violino Principale</i> is lost, although a manuscript part-book for it survives for a few works.<br />
<br />
===Op. 10: <i>VI Concerti a flauto traverso</i>===<br />
Six Concertos for Flute and String Orchestra, Op. 10; Related Variants<br />
<br />
As published, Vivaldi's Opus 10 is a straightforward collection of concertos for flute and string orchestra. <br />
Most works which originally called for obbligato flutes seem to have originated during the early 1720s, perhaps reflecting opportunities that Vivaldi encountered in Rome, where he stayed intermittently between c. 1719 and 1724. Although the transverse flute was then little known in Italy, the availability of an excellent player is was essential for the execution of several of his works for it. <br />
<br />
Opus 10 appeared in 1729, in rough coincidence with Vivaldi's violin concertos Opp. 11 and 12, but most of the work are likely to have composed years earlier. All three volumes were published in Amsterdam. Although published set was designed for a market oriented towards a standardized, relatively neutral instrumentation, the origins of the individual works were heterogeneous. The indications suggested by the related concertos listed on the lower half of the chart do not include subtle differences of instrumental alternatives and/or pairings--for example, an independent oboe part vs. an oboe part duplicating a second violin, a separate cello part vs. an unspecified Basso, and so forth. These are among the kinds of details that have necessitated separate listings for works that are musically similar. One manuscript source for No. 3 is scored for recorder rather than violin. <br />
<br />
The transverse flute and the recorder were both associated with a certain freedom of timbral choice. The so-called chamber concertos (RV 570, 90, and 101) for flute (or recorder), oboe, bassoon, violin, and bass can be understood to signify this sense of free play, rather than to represent a sub-genre cast in concrete. Although Vivaldi's chamber concertos had few analogues during Vivaldi's lifetime, they paved the way to a rich chamber repertory in the later eighteenth century.<br />
<br />
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{{VivaldiOpl0PDFTable}}<br />
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<br />
The first three works are the best known ones of the collection, but their nicknames accrued over time. Their programmatic allusions are largely confirmed in associated manuscripts. Storms at sea and phantoms of the night (the images cultivated by the first two pieces) were staples of opera staging at Venice's Teatro Sant'Angelo, the Venetian theater with which Vivaldi and his father were most consistently associated. Both played a prominent role in Venetian scene paintings contemporary with Vivaldi. <br />
<br />
The representation of sleep in the fourth movement of Op 10, No. 2, is illustrative of a fascination with dreams and the supernatural that was probed cautiously on the stage because of the pervasive scrutiny of religious censors. However, the dramatization of darkness fed Sant'Angelo's penchant for grottoes and grotesque scenes. It is darkness that the bassoon invokes in the manuscript RV 501 (the loose analogue of No. 2), where the the key is Bb Major rather than G Minor.<br />
<br />
Vivaldi's depictions of bird-calls (in Op. 10, No. 3 a bullfinch) were prevalent not only in his concertos but also in his operas, and in dozens of works by other composers of the time. Though elsewhere they often suggested the formal gardens that were so much promoted by the aristocracy, in Vivaldi's case they are more often a natural depiction of bucolic habitats consistent with the imagery of Arcadian shepherds than of programmed landscapes abroad. <br />
<br />
The <i>sopranino</i> recorder concerto RV 444 is a unique work among Vivaldi's <i>oeuvre</i>, although it could easily have been adapted to a different soloist. It would have suited a virtuoso of considerable renown.<br />
<br />
The parts provided here correspond to the Dover Publication entitled <i>Six Concertos for Flute and String Orchestra, Op. 10, and Related Variants</i>.<br />
<br />
===Op. 11: <i>Sei concerti</i>===<br />
In Opp. 11 and 12 Vivaldi returned to the practice of publishing six works at a time. His earlier 12-work prints are usually presented as two books of six, but there were practical benefits to grouping the works into two sets. Opp. 11 and 12 appear to be cut from the same cloth and may have been intended as a single publication. They appeared with consecutive print numbers (Nos. 545, 546) from presses of Michel Charles Le Cène in 1729. In comparison to all of Vivaldi's music printed since 1711 they were poorly circulated.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Related works !! Score <br />
|-<br />
| Op. 11, No. 1 || RV 207 || Concerto / VPr; V1 V2 Va Vc Bc || D Major || || Example<br />
|-<br />
| Op. 11, No. 2 || RV 277 || Concerto / VPr; V1 V2 Va Vc Bc || E Minor || Nicknamed "Il Favorito" || Example<br />
|-<br />
| Op. 11, No. 3 || RV 336 || Concerto / VPr; V1 V2 Va Vc Bc || A Major || || Example <br />
|-<br />
| Op. 11, No. 4 || RV 308 || Concerto / VPr; V1 V2 Va Vc Bc || G Major || || Example <br />
|-<br />
| Op. 11, No. 5 || RV 202 || Concerto / VPr; V1 V2 Va Vc Bc || G Minor || || Example <br />
|-<br />
| Op. 11, No. 6 || RV 260 || Concerto / VPr; V1 V2 Va Vc Bc || C Minor || Op. 9, No. 3 (RV 334) || Example<br />
|}<br />
<br />
===Op. 12: <i>Sei concerti</i>===<br />
Vivaldi's six concertos Op. 12 (1729) represent the final printed publication of his music. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 12, No. 1 || RV 317 || Concerto / VPr V1 V2 Va Vc Bc || G Minor || Example<br />
|-<br />
| Op. 12, No. 2 || RV 244 || Concerto / VPr V1 V2 Va Vc Bc || D Minor || Example<br />
|-<br />
| Op. 12, No. 3 || RV 124 || Concerto / VPr V1 V2 Va Vc Bc || D Major || Example<br />
|-<br />
| Op. 12, No. 4 || RV 173 || Concerto / VPr V1 V2 Va Vc Bc || C Major || Example<br />
|-<br />
| Op. 12, No. 5 || RV 379 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 12, No. 6 || RV 361 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|}<br />
<br />
==Unpublished instrumental works==<br />
<br />
The number of Vivaldi's unpublished instrumental pieces greatly exceeds those that were printed in the composer's lifetime. They generally follow the same lines and populate the same genres of sonata and concerto. The two most conspicuous differences between the published and unpublished works are that dates of composition are more difficult to pin down for the manuscript works and nearly all of the works with obbligato wind parts were never published. <br />
<br />
Why were works with obbligato winds not published in Vivaldi's time? The demand for works with wind parts was much lower, while learning to play the violin was a popular activity among noblemen. Numerous accounts of special occasions note the addition of local amateur players to orchestras for serenatas and sinfonias. Learning to play a bowed instrument conferred a certain prestige on the fledgling performer. <br />
<br />
In Italy wind instruments, which were not readily available, were required in music for particular kinds of ceremonies or scenes in operas. Nasal reeds, such as the oboe, were used in funeral music or to signify impending doom. Recorders and cross-flutes were associated with peasants and with dancing. Bassoons could signify the underworld. Among brasses, trumpets had been used discreetly to represent military advances and triumphs since before Vivaldi was born, but their appearances were few. <br />
<br />
Vivaldi's interactions with musicians from north of the Alps provided him with incentives to score parts for oboes, bassoons, recorders, cross-flutes, and other novel instruments. He also adapted some of his concertos with a wind instrument instead of a principal violin. Op. 10 is the only print that shows off his wind interests here, but the menu of works related to that set of six (grouped here with Op. 10) shows the latitude (or lack thereof) in adaptations. <br />
<br />
Yet in Italy the idea of using these different timbres together with strings was one that remained somewhat foreign at the end of Vivaldi's life. In his operas, winds were usually deployed in pairs. Quite often their use was limited to opening performances, when entrance fees were higher. Because their players were paid one night at a time, the wind parts did not always survive. Modern editions represent optimal versions of the work at hand, but the fact that many wind parts have only one or two solo episodes in an entire work and otherwise double string parts allows for some latitude in interpretation and some accommodation of strained circumstances.<br />
<br />
=Oratorios=<br />
== [http://wiki.ccarh.org/wiki/Juditha_triumphans <i>Juditha triumphans</i>] ==<br />
<br />
Click title to see separate webpage.<br />
<br />
= References =</div>Edchttps://wiki.ccarh.org/index.php?title=MuseData:_Antonio_Vivaldi&diff=10482MuseData: Antonio Vivaldi2021-03-27T09:38:46Z<p>Edc: /* Dissemination of Individual Works from Op. 3 */</p>
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<div>__TOC__<br />
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<br />
==Published Sonatas and Concertos==<br />
Antonio Lucio Vivaldi (1678-1741) is best known to modern audiences for his instrumental music. Like most composers of his time, Vivaldi composed in the formal medium of the sonata in his earliest publications (from 1703). His reputation was propelled by his concertos, the earliest of which appeared in 1711. This is still the genre with which he is most widely associated. <br />
<br />
===Op. 1: <i>Suonate da camera a trè, due violini e violone o cembalo</i>===<br />
Vivaldi's twelve sonatas Op. 1 are presumed to have been published prior to his appointment as <i>maestro di violino</i> at the Ospedale della Pietà, Venice, because he is described without reference to the institution as "<i>musico di violino, professore veneto</i>" (a violinist and teacher in the Veneto). The works were dedicated to the count Annibale Gambara, one of five sons in a big family of noblemen from Brescia (the city in which Vivaldi's father was born), a provincial capital in the western Veneto. The Gambara also had a modest palace on the Grand Canal in the Venetian parish of San Barnabà. <br />
<br />
[[File:Op1-12_Folia_V1.png|400px|thumb|center|Excerpt from the Violino primo (first violin) part of the Folìa of Vivaldi's Sonata Op. 1, No. 12 (Venice: Giuseppe Sala, 1705). Image from the partbook in the Conservatorio Benedetto Marcello, Venice. Used by permission.]]<br />
<br />
These trio sonatas contained various numbers of movements (3 to 6), most in binary form. The four outer works (Nos. 1, 2, 11, and 12) were in minor keys, the others in major ones. The best known work is Op. 1, No. 12, which features an ambitious <i>folìa</i> movement at its conclusion. The earliest surviving print of Op. 1 was published in Venice (G. Sala) in 1705. The collection was reprinted in Amsterdam in 1723 (E. Roger, as print No. 363), in Paris in 1759 (Le Clerc), and in Austria in 1759. Many movements are brief and musically simple, so much so that were one to judge from this opus alone, one would not have anticipated the kind of success that Vivaldi later found.<br />
<br />
{{VivaldiOp1PDF}}<br />
<br />
===Op. 2: <i>Sonate a violino e basso per il cembalo</i>===<br />
[[File:Carlevaris_FredIV_viaGetty-Google.png|575px|thumb|left|Detail of Luca Carlevaris's depiction of the regatta held on the Grand Canal, Venice, for Frederick IV of Denmark (1709). Reproduction of public-domain image from the Getty Museum as shown in the Google Art project.]]<br />
<br />
The trio sonata, over which Vivaldi had exhibited his command in Op. 1, had been the most prevalent instrumental genre of the 1690s, but in the first decade of the eighteenth century interest began to gravitate towards the "solo" sonata--a work in several movements for one ensemble instrument and a basso continuo. In this 1709 collection by the Venetian publisher Antonio Bortoli, Vivaldi pursued a more expressive vein of musical enticement. The opus was dedicated to the visiting young monarch Frederick IV of Denmark. As prince of Schleswig-Holstein, his extended stay drew much artistic attention. No fewer than three operas were dedicated to him. <br />
<br />
Seven of these sonatas were cast in minor keys. The movement structure remained variable. Vivaldi was moving in the direction of fewer movements but with greater musical elaboration within each movement. He was still described as <i>musico di violino</i> but also as <i>maestro dei concerti</i> (concertmaster) of the Ospedale della Pietà. <br />
<br />
{{VivaldiOp2PDF}}<br />
<br />
Like Op. 1, Op. 2 had a long afterlife in both reprints and manuscript copies, mainly abroad. These included the publications of E. Roger (Amsterdam, 1712) and several editions (1721-1730) by I. Walsh J. Young (London).<br />
<br />
===Op. 3: <i>L'estro armonico: Concerti</i>=== <br />
[[File:Ferdinando_de'_Medici_c1687_Cassana.jpg|300px|thumb|right|Portrait of Ferdinando de' Medici, grand prince of Tuscany, in c. 1687 by the Venetian painter Niccolò Cassana. Wikimedia Commons.]]<br />
<br />
The first concertos by Vivaldi to reach print were those of Opus 3 (Amsterdam, 1711). With them Vivaldi suddenly became a celebrity, for although he was well known as a virtuoso, his previously published works had found a relatively modest reception. Vivaldi's titles remained as they were in Op. 2. Most composers described the contents of a publication in sufficient detail to indicate instrumentation, but Vivaldi settled for the word "Concerti" in order to allow space for the titles of his patron, the Grand Prince of Tuscany, [http://it.wikipedia.org/wiki/Ferdinando_de%27_Medici#Teatro Ferdinando III (1663-1713)]. The Grand Prince, who led a flamboyant life, enjoyed his visits to Venice, where however he contracted syphilis in 1696. This led to his premature death and changed the course of Tuscan (and imperial) history. Meanwhile, however, his patronage of music benefited many composers of the time including [http://en.wikipedia.org/wiki/Tomaso_Albinoni Tomaso Albinoni (1671-1751)], [http://en.wikipedia.org/wiki/Handel George Frideric Handel (1685-1759)], and [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Alessandro Scarlatti (1660-1725)]. His Bavarian wife, [http://it.wikipedia.org/wiki/Violante_Beatrice_di_Baviera Violante Beatrice (1673-1731)], was in many ways a still more significant supporter of individual singers and instrumentalists. <br />
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Having now completed eight years of teaching at the [[Ospedale of the Pietà]] in Venice, Vivaldi shows himself to have experimented with a variety of approaches to textures and groupings of instruments. These twelve works are arranged cyclically, such that Nos. 1, 4, 7, and 10 are scored for four violins and string orchestra; Nos. 2, 5, 8, and 11 for two violins, violoncello, and string orchestra; and Nos. 3, 6, 9, and 12 for solo violin (Violino Principale) and string orchestra. Within the <i>concertino</i> groups (four violins or, alternatively, two violins and violoncello), there is further separation. The "four violins" model often involves the pairing of the instruments such that one duo imitates another. This kind of experimentation is suggested by the word <i>estro</i>, which refers to gestational properties whereby one musical passage generates the need for the next. In musical terms, the sophistication of the idea represented an enormous step forward for Vivaldi, whose first sonatas were primitive and somewhat generic by comparison. <br />
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Additionally, the music was more cogent than before, the organization manifestly rational. The imaginative scoring, careful markup, and newly pungent musical effects were novelties not found in Opp. 1 or 2. If he had leaned on the familiar models of [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Arcangelo Corelli (1753-1713)] before, Vivaldi was now producing music that was novel, ambitious, and aesthetically pleasing. Largely in coincidence with this publication, Vivaldi's concerts at the Pietà began to win plaudits from a succession of visiting dignitaries from abroad. <br />
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Within the context of the early concerto, Op. 3 was equally noteworthy. The now elderly Corelli had perfected the <i>concerto grosso</i> [his [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli#The_Concerti_grossi_Op._6 Op. 6] would be published only posthumously in 1714]. Vivaldi's concertos for two and four violins had some debts to these works, but his concertos for solo violin and orchestra did not have Corellian models to follow. The trumpet concertos by [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Giuseppe Torelli (1658-1709)] are an oft mentioned alternative model, but Vivaldi's skills at articulation and exhibitionism were unrivaled. The violin was capable of much greater subtlety than the trumpet. <br />
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====Dissemination of Individual Works from Op. 3====<br />
The <i>Concerti</i> Op. 3 were so popular that the entire opus was reprinted in Amsterdam within a year. Other reprints followed in both London and Paris through 1751. Because of the cyclical rotation of different combinations of instruments from work to work, individual pieces in Op. 3 led themselves to diverse uses. The basic organization is shown in the table. Parsed one way, it is a four-fold cycle of three works. The textures vary with the instrumentation.<br />
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Several works from Opus 3 took on lives of their own. Six works (indicated by an asterisk*) were transcribed by J. S. Bach, and there are faint clues that Bach may have transcribed them all. Bach was highly sensitive to the cyclical instrumentation of Vivaldi's collection: Nos 1, 4, 7, and 10 were set for two pairs of solo violins; Nos. 2, 5, 8, and 11 for a trio of soloists (two violins and violoncello); Nos. 3, 6, 9, and 12 for principal violin, in all cases with string orchestra. As the table below shows, Bach chose the second type for an organ adaptation and the third type for concertos for harpsichord and strings, while the first type served as a model for his lone concerto for four harpsichords and strings. The trio sonata, which was at its peak in the years 1700-1710, was a popular reservoir for organ transcriptions in Germany, but the other adaptations had no such currency. Concertos for four harpsichords were unknown. <br />
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Wide circulation of Vivaldi's concertos was further stimulated by John Walsh's edition of Op. 3 in <i>c.</i> 1715. In this print, the order of Nos. 6-9 was altered so that these concertos became Nos. 8, 9, 6, and 7. The clavichord transcriptions of Anne Dawson include many works in Vivaldi's Opp. 3 and 4 and show a further dimension of the music's adaptation. Numerous transcriptions and copies survive in Europe and North America.<br />
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====CCARH Scores and Parts for Opus 3====<br />
[[File:Op3DoverCover.jpg|100px||left]]<br />
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CCARH cooperated with Dover Publications Inc. in producing the scores that appear in <i>L'estro armonico: Twelve Concertos for Violins and String Orchestra, Op. 3</i>. The cover is shown below. The collection entitled <i>L'estro armonico</i> was the first title under Vivaldi's name to draw widespread attention. It is likely that some of the works had already been performed in selected gatherings. They were profusely copied, arranged, and reprinted (with numerous variants) over the next few decades. <br />
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For bound paper copies, see Vivaldi, Antonio. <i>"L'Estro armonico", Op. 3 in Full Score: 12 Concertos for Violins and String Orchestra</i>, ed. Eleanor Selfridge-Field (Mineola, New York: Dover Publications; 1999). Available from Amazon [http://www.amazon.com/exec/obidos/tg/detail/-/0486406318/themefinder/002-2800507-6138416 ISBN 0-486-40631-8] and Dover [http://store.doverpublications.com/review.html?pr_page_id=0486406318 ISBN 0-486-40631-8].<br />
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{{VivaldiOp3PDF}}<br />
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===Op. 4: <i>La Stravaganza: Concerti in six parts</i>===<br />
Vivaldi's violin concertos Op. 4 (announced in London on January 1, 1715) achieved a much broader penetration of the European market than any previous publication of his music. The collection, published in Amsterdam as Estienne Roger's prints Nos. 399 and 400, bore the title <i>La Stravaganza</i> (The Extravaganza), a designation popular at the time. In musical contexts it usually referred to chromatic harmonies, but in Vivaldi's case it forewarned prospective players of the challenges posed, epsecially for the principal violinist. (Up to this time, Roger had principally offered trio sonatas and concerti grossi, which were less demanding.) <br />
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Op. 4 was a compendium of virtuoso techniques that were popularized by Vivaldi, who, as a performer, was known far and wide for his daring. His near-peers in this regard were violinist-composers such as Tomaso Albinoni and Lodovico Madonis, but their most demanding works appeared some years later and were less widely distributed. Op. 4 was dedicated to a Venetian nobleman, Vettor Delfin, whose family were largely engaged in military affairs. With only one exception (Op. 4, No. 7), the concertos were written in three movements. <br />
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At the time Op. 4 appeared, Vivaldi had been filling holes left by the departure of [http://it.wikipedia.org/wiki/Francesco_Gasparini Francesco Gasparini (1661-1727)] at the Pietà. He was now turning his attention to motets and oratorios <i>per force</i> to bridge the gap left by Gasparini. It is therefore likely that most of these pieces were composed before the elder <i>maestro</i>'s departure. Reprints of Op. 4 appeared in 1723, 1728, and 1730, but selected individual works enjoyed independent circulation. Vivaldi had now reached the point where demand for his instrumental music exceeded the amount of time he could afford to devote to it. It may be for this reason that echoes of Op. 4 appear in a few later works by Vivaldi. Op. 7, No. 1, for example, was a first cousin of Op. 4, No. 9; myriad other variants of this set were quoted in later works. The cumulative effect was a splintering of work-identities that still confuse musicians today. Vivaldi himself adapted many of his works to suit new purposes as appropriate occasions arose. <br />
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{{VivaldiOp4PDF}}<br />
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===Op. 5: <i>VI Sonate/quatro à violino solo e basso e due a due violini e basso continuo</i>===<br />
Four of the six sonatas of Op. 5, published in Amsterdam (1716) as Estienne Roger's print No. 418, may have been remainders of Vivaldi's Op. 2, an opus consisting of a dozen solo violin sonatas. In Op. 5 we find four solo sonatas and two trio sonatas. During the visit of the young Danish king Frederick Christian IV to Venice in the winter of 1709, a great many banquets and balls were planned. Easily half of them were canceled either by hosts or guests because many people (including the doge and one of the Republic's official hosts) died. No autograph material for this opus survives. Op. 2 had been dedicated to Frederick Christian, but Op. 5 was an orphan of sorts. It contained a mixed repertory, lacked a dedicatee, and found insufficient popularity to prompt reprints. Few works were copied in manuscript. An exception was the first movement of Op. 5, No. 6, which was included in J. B. Cartier's <i>L'Art du Violon</i> (Paris, 1798). <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 5, No. 1 || RV 18 || Sonata / V, Bc || F Major || Example<br />
|-<br />
| Op. 5, No. 2 || RV 30 || Sonata / V, Bc || A Major || Example<br />
|-<br />
| Op. 5, No. 3 || RV 33 || Sonata / V, Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 4 || RV 35 || Sonata / V, Bc || B Minor || Example<br />
|-<br />
| Op. 5, No. 5 || RV 76 || Sonata / V1, V2, Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 6 || RV 72 || Sonata / V1, V2, Bc || G Minor || Example<br />
|}<br />
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===Op. 6: <i>VI Concerti à cinque strumenti: 3 violini, alto viola, e basso continuo</i>===<br />
The six concertos for violin and strings of Op. 6, published in Amsterdam in 1716-1717 by Jeanne Roger (as her firm's print No. 452) represent both a continuation and a departure. The instrumental requirements are identical to those of Op. 4: they require a principal violin and a small string orchestra. This short collection could have served as a supplement to Op. 4, given the pattern set by Opp. 2 and 5 (another short set). The absence of a dedicatee and sundry details of the music suggest that Vivaldi did not actively seek this publication and that the print was therefore unauthorized. Mme. Roger heralded Vivaldi's titles as <i>maestro di violino</i> and <i>maestro di concerti</i> at the Pietà. <br />
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Musically, five of the six works are in minor keys. Again forming a parallel with Op. 5, it was not followed by myriad other editions, although Le Cène brought out one (undated) reprint.<br />
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{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 6, No. 1 || RV 324 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 2 || RV 259 || Converto / VPr; V1 V2 Va Vc Org || C Minor || Example<br />
|-<br />
| Op. 6, No. 3 || RV 318 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 4 || RV 216 || Concerto / VPr; V1 V2 Va Vc Org || D Major || Example<br />
|-<br />
| Op. 6, No. 5 || RV 280 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || Example<br />
|-<br />
| Op. 6, No. 6 || RV 239 || Concerto / VPr; V1 V2 Va Vc Org || D Minor || Example<br />
|}<br />
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===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===<br />
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Vivsaldi's 12 concertos <i>a 5</i> (meaning three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for the solo episodes of the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained three movements. One can see that Vivaldi's idea of concerto had evolved considerably over a decade. The oboe arrangements of Nos. 1 and No. 7, as well as No. 9 (reset for oboe in a later opus) are now considered spurious. <br />
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As scores passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his concertos began to take on a life of their own. No. 1 was revised by Johann Pisendel (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden Hofkapelle. <br />
No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro." No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in Walsh & Hare's anthology <i>Select Harmony</i> (1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work incudes a written cadenza. It was also transcribed by J. S. Bach for organ as BWV 594. Parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations.<br />
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{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 7, No. 1 || RV 465 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 143 || Example<br />
|-<br />
| Op. 7, No. 2 || RV 188 || Concerto / VPr; V1 V2 Va Vc Org || C Major || || Example<br />
|-<br />
| Op. 7, No. 3 || RV 326 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || RV 370 || Example<br />
|-<br />
| Op. 7, No. 4 || RV 354 || Concerto / VPr; V1 V2 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 7, No. 5 || RV 285a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 285 || Example<br />
|-<br />
| Op. 7, No. 6 || RV 374 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 7, No. 7 || RV 464 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 142 || Example<br />
|-<br />
| Op. 7, No. 8 || RV 299 || Concerto / VPr; V1 V2 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 7, No. 9 || RV 373 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 153 || Example<br />
|-<br />
| Op. 7, No. 10 || RV 294a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 294 || Example<br />
|-<br />
| Op. 7, No. 11 || RV 208a || Concerto / VPr; V1 V2 Va Vc Org || D Major || BWV 594 (organ) || Example<br />
|-<br />
| Op. 7, No. 12 || RV 214 || Concerto / VPr; V1 V2 Va Vc Org || D Major || || Example<br />
|}<br />
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===Op. 8: <i>Il cimento dell'armonia e dell'invenzione: Concerti a quattro e cinque</i>===<br />
Vivaldi's most famous opus was published in Amsterdam by Michel Charles Le Cène in 1725. It is clear, though, that various portions of sundry works had been written earlier. What was perhaps new was the formalization of the scheme, complete with the texts of the sonnets with which they were coordinated, of the first four concertos--The Four Seasons. These works, and their cyclical organization, captured the imagination of many and led to a "Four Seasons" industry of arrangements and performances that extends to the current day. <br />
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Unlike other opuses that postdated Vivaldi's move to Mantua, this one resumed the practice of dedicating the collection to a nobleman, in this case Venceslas, count of Morzin (also Morcin, spelled Marzin in the print itself). Two concertos known only in manuscript, RV 449 and 496, were also dedicated to the count. <br />
He was Bohemian with townhouses in Prague and Vienna. He was an occasional patron of Venetian opera. Prague, the capital of Bohemia, was a thriving city with rapidly developing enterprises focused on opera and on the development of string music. One can see how poetic justice prevailed in this dedication: Bohemians not only loved music but were happy to master its component parts. <br />
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This opus was more popular in France than anywhere else. Parisian reprints issued from the presses of Madame Boivin (c. 1739, 1743, 1748). Manuscripts were widely circulated. Rearrangements of portions of the opus were also proliferated. In Dresden, the orchestration of some works was enriched by Johann Pisendel, who also elaborated some of the articulation. <br />
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In the works as a set, major keys predominate. Nos. 7, 9, and 11 are known in alternative versions. The final of movement of Op. 8, No. 11 presents a particularly complex web of revisions to the alternation of tutti and solo. <br />
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====CCARH Parts for Op. 8====<br />
The following parts for Antonio Vivaldi's Op.8 concerti accompany the full score available from Dover Publications:<br />
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* Vivaldi, Antonio. "The Four Seasons" and Other Violin Concertos in Full Score; Opus 8, Complete. Ed. by Eleanor Selfridge-Field. Mineola, New York: Dover Publications; 1995. ISBN 0-486-28638-X.<br />
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===Op. 9: <i>La cetra. Concerti</i>===<br />
Vivaldi's Concertos Op. 9, published in Amsterdam by Michel Charles Le Cène in Vols. 533 and 534 (datable from 1727), have the distinction of having been dedicated to the emperor Charles VI. The two met two years later in Trieste, where the emperor was more enraptured by Vivaldi's music and the intelligence with which he discussed it than with the diplomatic matters at hand. Op. 9 is easily confused with a contemporary set of twelve unpublished concertos for violin also called "La Cetra," that Vivaldi presented to the Emperor during his 1729 visit, as part of a diplomatic delegation, to Trieste. <br />
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The works of Op. 9 were not so widely circulated as those of other recent volumes of Vivaldi's music, and a few were not new. (Three of the works were known in alternative versions.) The popularity of the "Four Seasons" concertos (Op. 8, Nos. 1-4) blinded the public to Vivaldi's future prints, while Vivaldi's own interest in publishing instrumental music was also in decline after the appearance of this collection. <br />
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{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 9, No. 1 || RV 181a || [VPr]; V1 V2 V3 Va Vc Org || C Major || RV 180 || Example<br />
|-<br />
| Op. 9, No. 2 || RV 375 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 3 || RV 334 || [VPr]; V1 V2 V3 Va Vc Org || G Minor || || Example<br />
|-<br />
| Op. 9, No. 4 || RV 263a || [VPr]; V1 V2 V3 Va Vc Org || E Major || RV 263 || Example<br />
|-<br />
| Op. 9, No. 5 || RV 358 || [VPr]; V1 V2 V3 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 9, No. 6 || RV 348 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 7 || RV 359 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 8 || RV 238 || [VPr]; V1 V2 V3 Va Vc Org || D Minor || || Example<br />
|-<br />
| Op. 9, No. 9 || RV 530 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 10 || RV 300 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 9, No. 11 || RV 198a || [VPr]; V1 V2 V3 Va Vc Org || C Minor || RV 198 || Example<br />
|-<br />
| Op. 9, No. 12 || RV 391 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|}<br />
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The part for <i>Violino Principale</i> is lost, although a manuscript part-book for it survives for a few works.<br />
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===Op. 10: <i>VI Concerti a flauto traverso</i>===<br />
Six Concertos for Flute and String Orchestra, Op. 10; Related Variants<br />
<br />
As published, Vivaldi's Opus 10 is a straightforward collection of concertos for flute and string orchestra. <br />
Most works which originally called for obbligato flutes seem to have originated during the early 1720s, perhaps reflecting opportunities that Vivaldi encountered in Rome, where he stayed intermittently between c. 1719 and 1724. Although the transverse flute was then little known in Italy, the availability of an excellent player is was essential for the execution of several of his works for it. <br />
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Opus 10 appeared in 1729, in rough coincidence with Vivaldi's violin concertos Opp. 11 and 12, but most of the work are likely to have composed years earlier. All three volumes were published in Amsterdam. Although published set was designed for a market oriented towards a standardized, relatively neutral instrumentation, the origins of the individual works were heterogeneous. The indications suggested by the related concertos listed on the lower half of the chart do not include subtle differences of instrumental alternatives and/or pairings--for example, an independent oboe part vs. an oboe part duplicating a second violin, a separate cello part vs. an unspecified Basso, and so forth. These are among the kinds of details that have necessitated separate listings for works that are musically similar. One manuscript source for No. 3 is scored for recorder rather than violin. <br />
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The transverse flute and the recorder were both associated with a certain freedom of timbral choice. The so-called chamber concertos (RV 570, 90, and 101) for flute (or recorder), oboe, bassoon, violin, and bass can be understood to signify this sense of free play, rather than to represent a sub-genre cast in concrete. Although Vivaldi's chamber concertos had few analogues during Vivaldi's lifetime, they paved the way to a rich chamber repertory in the later eighteenth century.<br />
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The first three works are the best known ones of the collection, but their nicknames accrued over time. Their programmatic allusions are largely confirmed in associated manuscripts. Storms at sea and phantoms of the night (the images cultivated by the first two pieces) were staples of opera staging at Venice's Teatro Sant'Angelo, the Venetian theater with which Vivaldi and his father were most consistently associated. Both played a prominent role in Venetian scene paintings contemporary with Vivaldi. <br />
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The representation of sleep in the fourth movement of Op 10, No. 2, is illustrative of a fascination with dreams and the supernatural that was probed cautiously on the stage because of the pervasive scrutiny of religious censors. However, the dramatization of darkness fed Sant'Angelo's penchant for grottoes and grotesque scenes. It is darkness that the bassoon invokes in the manuscript RV 501 (the loose analogue of No. 2), where the the key is Bb Major rather than G Minor.<br />
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Vivaldi's depictions of bird-calls (in Op. 10, No. 3 a bullfinch) were prevalent not only in his concertos but also in his operas, and in dozens of works by other composers of the time. Also elsewhere they often suggested the formal gardens that were so much promoted by the aristocracy, in Vivaldi's case they are more often a natural depiction of bucolic habitats consistent with the imagery of Arcadian shepherds than of programmed landscapes abroad. <br />
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The <i>sopranino</i> recorder concerto RV 444 is a unique work among Vivaldi's <i>oeuvre</i>, although it could easily have been adapted to a different soloist. It would have suited a virtuoso of considerable renown.<br />
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The parts provided here correspond to the Dover Publication entitled <i>Six Concertos for Flute and String Orchestra, Op. 10, and Related Variants</i>.<br />
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===Op. 11: <i>Sei concerti</i>===<br />
In Opp. 11 and 12 Vivaldi returned to the practice of publishing six works at a time. His earlier 12-work prints are usually presented as two books of six, but there were practical benefits to grouping the works into two sets. Opp. 11 and 12 appear to be cut from the same cloth and may have been intended as a single publication. They appeared with consecutive print numbers (Nos. 545, 546) from presses of Michel Charles Le Cène in 1729. In comparison to all of Vivaldi's music printed since 1711 they were poorly circulated.<br />
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{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Related works !! Score <br />
|-<br />
| Op. 11, No. 1 || RV 207 || Concerto / VPr; V1 V2 Va Vc Bc || D Major || || Example<br />
|-<br />
| Op. 11, No. 2 || RV 277 || Concerto / VPr; V1 V2 Va Vc Bc || E Minor || Nicknamed "Il Favorito" || Example<br />
|-<br />
| Op. 11, No. 3 || RV 336 || Concerto / VPr; V1 V2 Va Vc Bc || A Major || || Example <br />
|-<br />
| Op. 11, No. 4 || RV 308 || Concerto / VPr; V1 V2 Va Vc Bc || G Major || || Example <br />
|-<br />
| Op. 11, No. 5 || RV 202 || Concerto / VPr; V1 V2 Va Vc Bc || G Minor || || Example <br />
|-<br />
| Op. 11, No. 6 || RV 260 || Concerto / VPr; V1 V2 Va Vc Bc || C Minor || Op. 9, No. 3 (RV 334) || Example<br />
|}<br />
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===Op. 12: <i>Sei concerti</i>===<br />
Vivaldi's six concertos Op. 12 (1729) represent the final printed publication of his music. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 12, No. 1 || RV 317 || Concerto / VPr V1 V2 Va Vc Bc || G Minor || Example<br />
|-<br />
| Op. 12, No. 2 || RV 244 || Concerto / VPr V1 V2 Va Vc Bc || D Minor || Example<br />
|-<br />
| Op. 12, No. 3 || RV 124 || Concerto / VPr V1 V2 Va Vc Bc || D Major || Example<br />
|-<br />
| Op. 12, No. 4 || RV 173 || Concerto / VPr V1 V2 Va Vc Bc || C Major || Example<br />
|-<br />
| Op. 12, No. 5 || RV 379 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 12, No. 6 || RV 361 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|}<br />
<br />
==Unpublished instrumental works==<br />
<br />
The number of Vivaldi's unpublished instrumental pieces greatly exceeds those that were printed in the composer's lifetime. They generally follow the same lines and populate the same genres of sonata and concerto. The two most conspicuous differences between the published and unpublished works are that dates of composition are more difficult to pin down for the manuscript works and nearly all of the works with obbligato wind parts were never published. <br />
<br />
Why were works with obbligato winds not published in Vivaldi's time? The demand for works with wind parts was much lower, while learning to play the violin was a popular activity among noblemen. Numerous accounts of special occasions note the addition of local amateur players to orchestras for serenatas and sinfonias. Learning to play a bowed instrument conferred a certain prestige on the fledgling performer. <br />
<br />
In Italy wind instruments, which were not readily available, were required in music for particular kinds of ceremonies or scenes in operas. Nasal reeds, such as the oboe, were used in funeral music or to signify impending doom. Recorders and cross-flutes were associated with peasants and with dancing. Bassoons could signify the underworld. Among brasses, trumpets had been used discreetly to represent military advances and triumphs since before Vivaldi was born, but their appearances were few. <br />
<br />
Vivaldi's interactions with musicians from north of the Alps provided him with incentives to score parts for oboes, bassoons, recorders, cross-flutes, and other novel instruments. He also adapted some of his concertos with a wind instrument instead of a principal violin. Op. 10 is the only print that shows off his wind interests here, but the menu of works related to that set of six (grouped here with Op. 10) shows the latitude (or lack thereof) in adaptations. <br />
<br />
Yet in Italy the idea of using these different timbres together with strings was one that remained somewhat foreign at the end of Vivaldi's life. In his operas, winds were usually deployed in pairs. Quite often their use was limited to opening performances, when entrance fees were higher. Because their players were paid one night at a time, the wind parts did not always survive. Modern editions represent optimal versions of the work at hand, but the fact that many wind parts have only one or two solo episodes in an entire work and otherwise double string parts allows for some latitude in interpretation and some accommodation of strained circumstances.<br />
<br />
=Oratorios=<br />
== [http://wiki.ccarh.org/wiki/Juditha_triumphans <i>Juditha triumphans</i>] ==<br />
<br />
Click title to see separate webpage.<br />
<br />
= References =</div>Edchttps://wiki.ccarh.org/index.php?title=MuseData:_Antonio_Vivaldi&diff=10481MuseData: Antonio Vivaldi2021-03-27T09:28:20Z<p>Edc: /* Op. 3: L'estro armonico: Concerti */</p>
<hr />
<div>__TOC__<br />
<br />
<br />
==Published Sonatas and Concertos==<br />
Antonio Lucio Vivaldi (1678-1741) is best known to modern audiences for his instrumental music. Like most composers of his time, Vivaldi composed in the formal medium of the sonata in his earliest publications (from 1703). His reputation was propelled by his concertos, the earliest of which appeared in 1711. This is still the genre with which he is most widely associated. <br />
<br />
===Op. 1: <i>Suonate da camera a trè, due violini e violone o cembalo</i>===<br />
Vivaldi's twelve sonatas Op. 1 are presumed to have been published prior to his appointment as <i>maestro di violino</i> at the Ospedale della Pietà, Venice, because he is described without reference to the institution as "<i>musico di violino, professore veneto</i>" (a violinist and teacher in the Veneto). The works were dedicated to the count Annibale Gambara, one of five sons in a big family of noblemen from Brescia (the city in which Vivaldi's father was born), a provincial capital in the western Veneto. The Gambara also had a modest palace on the Grand Canal in the Venetian parish of San Barnabà. <br />
<br />
[[File:Op1-12_Folia_V1.png|400px|thumb|center|Excerpt from the Violino primo (first violin) part of the Folìa of Vivaldi's Sonata Op. 1, No. 12 (Venice: Giuseppe Sala, 1705). Image from the partbook in the Conservatorio Benedetto Marcello, Venice. Used by permission.]]<br />
<br />
These trio sonatas contained various numbers of movements (3 to 6), most in binary form. The four outer works (Nos. 1, 2, 11, and 12) were in minor keys, the others in major ones. The best known work is Op. 1, No. 12, which features an ambitious <i>folìa</i> movement at its conclusion. The earliest surviving print of Op. 1 was published in Venice (G. Sala) in 1705. The collection was reprinted in Amsterdam in 1723 (E. Roger, as print No. 363), in Paris in 1759 (Le Clerc), and in Austria in 1759. Many movements are brief and musically simple, so much so that were one to judge from this opus alone, one would not have anticipated the kind of success that Vivaldi later found.<br />
<br />
{{VivaldiOp1PDF}}<br />
<br />
===Op. 2: <i>Sonate a violino e basso per il cembalo</i>===<br />
[[File:Carlevaris_FredIV_viaGetty-Google.png|575px|thumb|left|Detail of Luca Carlevaris's depiction of the regatta held on the Grand Canal, Venice, for Frederick IV of Denmark (1709). Reproduction of public-domain image from the Getty Museum as shown in the Google Art project.]]<br />
<br />
The trio sonata, over which Vivaldi had exhibited his command in Op. 1, had been the most prevalent instrumental genre of the 1690s, but in the first decade of the eighteenth century interest began to gravitate towards the "solo" sonata--a work in several movements for one ensemble instrument and a basso continuo. In this 1709 collection by the Venetian publisher Antonio Bortoli, Vivaldi pursued a more expressive vein of musical enticement. The opus was dedicated to the visiting young monarch Frederick IV of Denmark. As prince of Schleswig-Holstein, his extended stay drew much artistic attention. No fewer than three operas were dedicated to him. <br />
<br />
Seven of these sonatas were cast in minor keys. The movement structure remained variable. Vivaldi was moving in the direction of fewer movements but with greater musical elaboration within each movement. He was still described as <i>musico di violino</i> but also as <i>maestro dei concerti</i> (concertmaster) of the Ospedale della Pietà. <br />
<br />
{{VivaldiOp2PDF}}<br />
<br />
Like Op. 1, Op. 2 had a long afterlife in both reprints and manuscript copies, mainly abroad. These included the publications of E. Roger (Amsterdam, 1712) and several editions (1721-1730) by I. Walsh J. Young (London).<br />
<br />
===Op. 3: <i>L'estro armonico: Concerti</i>=== <br />
[[File:Ferdinando_de'_Medici_c1687_Cassana.jpg|300px|thumb|right|Portrait of Ferdinando de' Medici, grand prince of Tuscany, in c. 1687 by the Venetian painter Niccolò Cassana. Wikimedia Commons.]]<br />
<br />
The first concertos by Vivaldi to reach print were those of Opus 3 (Amsterdam, 1711). With them Vivaldi suddenly became a celebrity, for although he was well known as a virtuoso, his previously published works had found a relatively modest reception. Vivaldi's titles remained as they were in Op. 2. Most composers described the contents of a publication in sufficient detail to indicate instrumentation, but Vivaldi settled for the word "Concerti" in order to allow space for the titles of his patron, the Grand Prince of Tuscany, [http://it.wikipedia.org/wiki/Ferdinando_de%27_Medici#Teatro Ferdinando III (1663-1713)]. The Grand Prince, who led a flamboyant life, enjoyed his visits to Venice, where however he contracted syphilis in 1696. This led to his premature death and changed the course of Tuscan (and imperial) history. Meanwhile, however, his patronage of music benefited many composers of the time including [http://en.wikipedia.org/wiki/Tomaso_Albinoni Tomaso Albinoni (1671-1751)], [http://en.wikipedia.org/wiki/Handel George Frideric Handel (1685-1759)], and [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Alessandro Scarlatti (1660-1725)]. His Bavarian wife, [http://it.wikipedia.org/wiki/Violante_Beatrice_di_Baviera Violante Beatrice (1673-1731)], was in many ways a still more significant supporter of individual singers and instrumentalists. <br />
<br />
Having now completed eight years of teaching at the [[Ospedale of the Pietà]] in Venice, Vivaldi shows himself to have experimented with a variety of approaches to textures and groupings of instruments. These twelve works are arranged cyclically, such that Nos. 1, 4, 7, and 10 are scored for four violins and string orchestra; Nos. 2, 5, 8, and 11 for two violins, violoncello, and string orchestra; and Nos. 3, 6, 9, and 12 for solo violin (Violino Principale) and string orchestra. Within the <i>concertino</i> groups (four violins or, alternatively, two violins and violoncello), there is further separation. The "four violins" model often involves the pairing of the instruments such that one duo imitates another. This kind of experimentation is suggested by the word <i>estro</i>, which refers to gestational properties whereby one musical passage generates the need for the next. In musical terms, the sophistication of the idea represented an enormous step forward for Vivaldi, whose first sonatas were primitive and somewhat generic by comparison. <br />
<br />
Additionally, the music was more cogent than before, the organization manifestly rational. The imaginative scoring, careful markup, and newly pungent musical effects were novelties not found in Opp. 1 or 2. If he had leaned on the familiar models of [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Arcangelo Corelli (1753-1713)] before, Vivaldi was now producing music that was novel, ambitious, and aesthetically pleasing. Largely in coincidence with this publication, Vivaldi's concerts at the Pietà began to win plaudits from a succession of visiting dignitaries from abroad. <br />
<br />
Within the context of the early concerto, Op. 3 was equally noteworthy. The now elderly Corelli had perfected the <i>concerto grosso</i> [his [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli#The_Concerti_grossi_Op._6 Op. 6] would be published only posthumously in 1714]. Vivaldi's concertos for two and four violins had some debts to these works, but his concertos for solo violin and orchestra did not have Corellian models to follow. The trumpet concertos by [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Giuseppe Torelli (1658-1709)] are an oft mentioned alternative model, but Vivaldi's skills at articulation and exhibitionism were unrivaled. The violin was capable of much greater subtlety than the trumpet. <br />
<br />
====Dissemination of Individual Works from Op. 3====<br />
The <i>Concerti</i> Op. 3 were so popular that the entire opus was reprinted in Amsterdam within a year. Other reprints followed in both London and Paris through 1751. Because of the cyclical rotation of different combinations of instruments from work to work individual pieces in Op. 3 led themselves to diverse uses. The basic organization is shown in the table. Parsed one way, it is a four-fold cycle of three works. The textures vary with the instrumentation.<br />
<br />
Several works from Opus 3 took on lives of their own. Six works (indicated by an asterisk*) were transcribed by J. S. Bach, and there are faint clues that Bach may have transcribed them all. Bach was highly sensitive to the cyclical instrumentation of Vivaldi's collection: Nos 1, 4, 7, and 10 were set for two pairs of solo violins; Nos. 2, 5, 8, and 11 for a trio of soloists (two violins and violoncello); Nos. 3, 6, 9, and 12 for principal violin, in all cases with string orchestra. As the table below shows, Bach chose the second type an organ adaptation and the third type for concertos for harpsichord and strings, while the first type served as a model for his lone concerto for four harpsichords and strings. The trio sonata, which was at its peak in the years 1700-1710, was a popular reservoir for organ transcriptions in Germany, but the other adaptations had no such currency. Concertos for four harpsichords were unknown. <br />
<br />
Wide circulation of Vivaldi's concertos was further stimulated by John Walsh's edition of Op. 3 in <i>c.</i> 1715. In this print, the order of Nos. 6-9 was altered so that these concertos became Nos. 8, 9, 6, and 7). The clavichord transcriptions of Anne Dawson include many works in Vivaldi's Opp. 3 and 4 show a further dimension of the music's adaptation. Numerous transcriptions and copies survive in Europe and North America.<br />
<br />
====CCARH Scores and Parts for Opus 3====<br />
[[File:Op3DoverCover.jpg|100px||left]]<br />
<br />
CCARH cooperated with Dover Publications Inc. in producing the scores that appear in <i>L'estro armonico: Twelve Concertos for Violins and String Orchestra, Op. 3</i>. The cover is shown below. The collection entitled <i>L'estro armonico</i> was the first title under Vivaldi's name to draw widespread attention. It is likely that some of the works had already been performed in selected gatherings. They were profusely copied, arranged, and reprinted (with numerous variants) over the next few decades. <br />
<br />
For bound paper copies, see Vivaldi, Antonio. <i>"L'Estro armonico", Op. 3 in Full Score: 12 Concertos for Violins and String Orchestra</i>, ed. Eleanor Selfridge-Field (Mineola, New York: Dover Publications; 1999). Available from Amazon [http://www.amazon.com/exec/obidos/tg/detail/-/0486406318/themefinder/002-2800507-6138416 ISBN 0-486-40631-8] and Dover [http://store.doverpublications.com/review.html?pr_page_id=0486406318 ISBN 0-486-40631-8].<br />
</ul><br />
<br />
{{VivaldiOp3PDF}}<br />
<br><br />
<br />
===Op. 4: <i>La Stravaganza: Concerti in six parts</i>===<br />
Vivaldi's violin concertos Op. 4 (announced in London on January 1, 1715) achieved a much broader penetration of the European market than any previous publication of his music. The collection, published in Amsterdam as Estienne Roger's prints Nos. 399 and 400, bore the title <i>La Stravaganza</i> (The Extravaganza), a designation popular at the time. In musical contexts it usually referred to chromatic harmonies, but in Vivaldi's case it forewarned prospective players of the challenges posed, epsecially for the principal violinist. (Up to this time, Roger had principally offered trio sonatas and concerti grossi, which were less demanding.) <br />
<br />
Op. 4 was a compendium of virtuoso techniques that were popularized by Vivaldi, who, as a performer, was known far and wide for his daring. His near-peers in this regard were violinist-composers such as Tomaso Albinoni and Lodovico Madonis, but their most demanding works appeared some years later and were less widely distributed. Op. 4 was dedicated to a Venetian nobleman, Vettor Delfin, whose family were largely engaged in military affairs. With only one exception (Op. 4, No. 7), the concertos were written in three movements. <br />
<br />
At the time Op. 4 appeared, Vivaldi had been filling holes left by the departure of [http://it.wikipedia.org/wiki/Francesco_Gasparini Francesco Gasparini (1661-1727)] at the Pietà. He was now turning his attention to motets and oratorios <i>per force</i> to bridge the gap left by Gasparini. It is therefore likely that most of these pieces were composed before the elder <i>maestro</i>'s departure. Reprints of Op. 4 appeared in 1723, 1728, and 1730, but selected individual works enjoyed independent circulation. Vivaldi had now reached the point where demand for his instrumental music exceeded the amount of time he could afford to devote to it. It may be for this reason that echoes of Op. 4 appear in a few later works by Vivaldi. Op. 7, No. 1, for example, was a first cousin of Op. 4, No. 9; myriad other variants of this set were quoted in later works. The cumulative effect was a splintering of work-identities that still confuse musicians today. Vivaldi himself adapted many of his works to suit new purposes as appropriate occasions arose. <br />
<br />
{{VivaldiOp4PDF}}<br />
<br />
===Op. 5: <i>VI Sonate/quatro à violino solo e basso e due a due violini e basso continuo</i>===<br />
Four of the six sonatas of Op. 5, published in Amsterdam (1716) as Estienne Roger's print No. 418, may have been remainders of Vivaldi's Op. 2, an opus consisting of a dozen solo violin sonatas. In Op. 5 we find four solo sonatas and two trio sonatas. During the visit of the young Danish king Frederick Christian IV to Venice in the winter of 1709, a great many banquets and balls were planned. Easily half of them were canceled either by hosts or guests because many people (including the doge and one of the Republic's official hosts) died. No autograph material for this opus survives. Op. 2 had been dedicated to Frederick Christian, but Op. 5 was an orphan of sorts. It contained a mixed repertory, lacked a dedicatee, and found insufficient popularity to prompt reprints. Few works were copied in manuscript. An exception was the first movement of Op. 5, No. 6, which was included in J. B. Cartier's <i>L'Art du Violon</i> (Paris, 1798). <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 5, No. 1 || RV 18 || Sonata / V, Bc || F Major || Example<br />
|-<br />
| Op. 5, No. 2 || RV 30 || Sonata / V, Bc || A Major || Example<br />
|-<br />
| Op. 5, No. 3 || RV 33 || Sonata / V, Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 4 || RV 35 || Sonata / V, Bc || B Minor || Example<br />
|-<br />
| Op. 5, No. 5 || RV 76 || Sonata / V1, V2, Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 6 || RV 72 || Sonata / V1, V2, Bc || G Minor || Example<br />
|}<br />
<br />
===Op. 6: <i>VI Concerti à cinque strumenti: 3 violini, alto viola, e basso continuo</i>===<br />
The six concertos for violin and strings of Op. 6, published in Amsterdam in 1716-1717 by Jeanne Roger (as her firm's print No. 452) represent both a continuation and a departure. The instrumental requirements are identical to those of Op. 4: they require a principal violin and a small string orchestra. This short collection could have served as a supplement to Op. 4, given the pattern set by Opp. 2 and 5 (another short set). The absence of a dedicatee and sundry details of the music suggest that Vivaldi did not actively seek this publication and that the print was therefore unauthorized. Mme. Roger heralded Vivaldi's titles as <i>maestro di violino</i> and <i>maestro di concerti</i> at the Pietà. <br />
<br />
Musically, five of the six works are in minor keys. Again forming a parallel with Op. 5, it was not followed by myriad other editions, although Le Cène brought out one (undated) reprint.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 6, No. 1 || RV 324 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 2 || RV 259 || Converto / VPr; V1 V2 Va Vc Org || C Minor || Example<br />
|-<br />
| Op. 6, No. 3 || RV 318 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 4 || RV 216 || Concerto / VPr; V1 V2 Va Vc Org || D Major || Example<br />
|-<br />
| Op. 6, No. 5 || RV 280 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || Example<br />
|-<br />
| Op. 6, No. 6 || RV 239 || Concerto / VPr; V1 V2 Va Vc Org || D Minor || Example<br />
|}<br />
<br />
===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===<br />
<br />
Vivsaldi's 12 concertos <i>a 5</i> (meaning three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for the solo episodes of the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained three movements. One can see that Vivaldi's idea of concerto had evolved considerably over a decade. The oboe arrangements of Nos. 1 and No. 7, as well as No. 9 (reset for oboe in a later opus) are now considered spurious. <br />
<br />
As scores passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his concertos began to take on a life of their own. No. 1 was revised by Johann Pisendel (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden Hofkapelle. <br />
No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro." No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in Walsh & Hare's anthology <i>Select Harmony</i> (1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work incudes a written cadenza. It was also transcribed by J. S. Bach for organ as BWV 594. Parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 7, No. 1 || RV 465 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 143 || Example<br />
|-<br />
| Op. 7, No. 2 || RV 188 || Concerto / VPr; V1 V2 Va Vc Org || C Major || || Example<br />
|-<br />
| Op. 7, No. 3 || RV 326 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || RV 370 || Example<br />
|-<br />
| Op. 7, No. 4 || RV 354 || Concerto / VPr; V1 V2 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 7, No. 5 || RV 285a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 285 || Example<br />
|-<br />
| Op. 7, No. 6 || RV 374 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 7, No. 7 || RV 464 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 142 || Example<br />
|-<br />
| Op. 7, No. 8 || RV 299 || Concerto / VPr; V1 V2 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 7, No. 9 || RV 373 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 153 || Example<br />
|-<br />
| Op. 7, No. 10 || RV 294a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 294 || Example<br />
|-<br />
| Op. 7, No. 11 || RV 208a || Concerto / VPr; V1 V2 Va Vc Org || D Major || BWV 594 (organ) || Example<br />
|-<br />
| Op. 7, No. 12 || RV 214 || Concerto / VPr; V1 V2 Va Vc Org || D Major || || Example<br />
|}<br />
<br />
===Op. 8: <i>Il cimento dell'armonia e dell'invenzione: Concerti a quattro e cinque</i>===<br />
Vivaldi's most famous opus was published in Amsterdam by Michel Charles Le Cène in 1725. It is clear, though, that various portions of sundry works had been written earlier. What was perhaps new was the formalization of the scheme, complete with the texts of the sonnets with which they were coordinated, of the first four concertos--The Four Seasons. These works, and their cyclical organization, captured the imagination of many and led to a "Four Seasons" industry of arrangements and performances that extends to the current day. <br />
<br />
Unlike other opuses that postdated Vivaldi's move to Mantua, this one resumed the practice of dedicating the collection to a nobleman, in this case Venceslas, count of Morzin (also Morcin, spelled Marzin in the print itself). Two concertos known only in manuscript, RV 449 and 496, were also dedicated to the count. <br />
He was Bohemian with townhouses in Prague and Vienna. He was an occasional patron of Venetian opera. Prague, the capital of Bohemia, was a thriving city with rapidly developing enterprises focused on opera and on the development of string music. One can see how poetic justice prevailed in this dedication: Bohemians not only loved music but were happy to master its component parts. <br />
<br />
This opus was more popular in France than anywhere else. Parisian reprints issued from the presses of Madame Boivin (c. 1739, 1743, 1748). Manuscripts were widely circulated. Rearrangements of portions of the opus were also proliferated. In Dresden, the orchestration of some works was enriched by Johann Pisendel, who also elaborated some of the articulation. <br />
<br />
In the works as a set, major keys predominate. Nos. 7, 9, and 11 are known in alternative versions. The final of movement of Op. 8, No. 11 presents a particularly complex web of revisions to the alternation of tutti and solo. <br />
<br />
====CCARH Parts for Op. 8====<br />
The following parts for Antonio Vivaldi's Op.8 concerti accompany the full score available from Dover Publications:<br />
<br />
* Vivaldi, Antonio. "The Four Seasons" and Other Violin Concertos in Full Score; Opus 8, Complete. Ed. by Eleanor Selfridge-Field. Mineola, New York: Dover Publications; 1995. ISBN 0-486-28638-X.<br />
<br />
<center><br />
{{VivaldiOp8PDFTable}}<br />
</center><br />
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<br />
===Op. 9: <i>La cetra. Concerti</i>===<br />
Vivaldi's Concertos Op. 9, published in Amsterdam by Michel Charles Le Cène in Vols. 533 and 534 (datable from 1727), have the distinction of having been dedicated to the emperor Charles VI. The two met two years later in Trieste, where the emperor was more enraptured by Vivaldi's music and the intelligence with which he discussed it than with the diplomatic matters at hand. Op. 9 is easily confused with a contemporary set of twelve unpublished concertos for violin also called "La Cetra," that Vivaldi presented to the Emperor during his 1729 visit, as part of a diplomatic delegation, to Trieste. <br />
<br />
The works of Op. 9 were not so widely circulated as those of other recent volumes of Vivaldi's music, and a few were not new. (Three of the works were known in alternative versions.) The popularity of the "Four Seasons" concertos (Op. 8, Nos. 1-4) blinded the public to Vivaldi's future prints, while Vivaldi's own interest in publishing instrumental music was also in decline after the appearance of this collection. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 9, No. 1 || RV 181a || [VPr]; V1 V2 V3 Va Vc Org || C Major || RV 180 || Example<br />
|-<br />
| Op. 9, No. 2 || RV 375 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 3 || RV 334 || [VPr]; V1 V2 V3 Va Vc Org || G Minor || || Example<br />
|-<br />
| Op. 9, No. 4 || RV 263a || [VPr]; V1 V2 V3 Va Vc Org || E Major || RV 263 || Example<br />
|-<br />
| Op. 9, No. 5 || RV 358 || [VPr]; V1 V2 V3 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 9, No. 6 || RV 348 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 7 || RV 359 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 8 || RV 238 || [VPr]; V1 V2 V3 Va Vc Org || D Minor || || Example<br />
|-<br />
| Op. 9, No. 9 || RV 530 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 10 || RV 300 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 9, No. 11 || RV 198a || [VPr]; V1 V2 V3 Va Vc Org || C Minor || RV 198 || Example<br />
|-<br />
| Op. 9, No. 12 || RV 391 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|}<br />
<br />
The part for <i>Violino Principale</i> is lost, although a manuscript part-book for it survives for a few works.<br />
<br />
===Op. 10: <i>VI Concerti a flauto traverso</i>===<br />
Six Concertos for Flute and String Orchestra, Op. 10; Related Variants<br />
<br />
As published, Vivaldi's Opus 10 is a straightforward collection of concertos for flute and string orchestra. <br />
Most works which originally called for obbligato flutes seem to have originated during the early 1720s, perhaps reflecting opportunities that Vivaldi encountered in Rome, where he stayed intermittently between c. 1719 and 1724. Although the transverse flute was then little known in Italy, the availability of an excellent player is was essential for the execution of several of his works for it. <br />
<br />
Opus 10 appeared in 1729, in rough coincidence with Vivaldi's violin concertos Opp. 11 and 12, but most of the work are likely to have composed years earlier. All three volumes were published in Amsterdam. Although published set was designed for a market oriented towards a standardized, relatively neutral instrumentation, the origins of the individual works were heterogeneous. The indications suggested by the related concertos listed on the lower half of the chart do not include subtle differences of instrumental alternatives and/or pairings--for example, an independent oboe part vs. an oboe part duplicating a second violin, a separate cello part vs. an unspecified Basso, and so forth. These are among the kinds of details that have necessitated separate listings for works that are musically similar. One manuscript source for No. 3 is scored for recorder rather than violin. <br />
<br />
The transverse flute and the recorder were both associated with a certain freedom of timbral choice. The so-called chamber concertos (RV 570, 90, and 101) for flute (or recorder), oboe, bassoon, violin, and bass can be understood to signify this sense of free play, rather than to represent a sub-genre cast in concrete. Although Vivaldi's chamber concertos had few analogues during Vivaldi's lifetime, they paved the way to a rich chamber repertory in the later eighteenth century.<br />
<br />
<center><br />
{{VivaldiOpl0PDFTable}}<br />
</center><br />
<br />
The first three works are the best known ones of the collection, but their nicknames accrued over time. Their programmatic allusions are largely confirmed in associated manuscripts. Storms at sea and phantoms of the night (the images cultivated by the first two pieces) were staples of opera staging at Venice's Teatro Sant'Angelo, the Venetian theater with which Vivaldi and his father were most consistently associated. Both played a prominent role in Venetian scene paintings contemporary with Vivaldi. <br />
<br />
The representation of sleep in the fourth movement of Op 10, No. 2, is illustrative of a fascination with dreams and the supernatural that was probed cautiously on the stage because of the pervasive scrutiny of religious censors. However, the dramatization of darkness fed Sant'Angelo's penchant for grottoes and grotesque scenes. It is darkness that the bassoon invokes in the manuscript RV 501 (the loose analogue of No. 2), where the the key is Bb Major rather than G Minor.<br />
<br />
Vivaldi's depictions of bird-calls (in Op. 10, No. 3 a bullfinch) were prevalent not only in his concertos but also in his operas, and in dozens of works by other composers of the time. Also elsewhere they often suggested the formal gardens that were so much promoted by the aristocracy, in Vivaldi's case they are more often a natural depiction of bucolic habitats consistent with the imagery of Arcadian shepherds than of programmed landscapes abroad. <br />
<br />
The <i>sopranino</i> recorder concerto RV 444 is a unique work among Vivaldi's <i>oeuvre</i>, although it could easily have been adapted to a different soloist. It would have suited a virtuoso of considerable renown.<br />
<br />
The parts provided here correspond to the Dover Publication entitled <i>Six Concertos for Flute and String Orchestra, Op. 10, and Related Variants</i>.<br />
<br />
===Op. 11: <i>Sei concerti</i>===<br />
In Opp. 11 and 12 Vivaldi returned to the practice of publishing six works at a time. His earlier 12-work prints are usually presented as two books of six, but there were practical benefits to grouping the works into two sets. Opp. 11 and 12 appear to be cut from the same cloth and may have been intended as a single publication. They appeared with consecutive print numbers (Nos. 545, 546) from presses of Michel Charles Le Cène in 1729. In comparison to all of Vivaldi's music printed since 1711 they were poorly circulated.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Related works !! Score <br />
|-<br />
| Op. 11, No. 1 || RV 207 || Concerto / VPr; V1 V2 Va Vc Bc || D Major || || Example<br />
|-<br />
| Op. 11, No. 2 || RV 277 || Concerto / VPr; V1 V2 Va Vc Bc || E Minor || Nicknamed "Il Favorito" || Example<br />
|-<br />
| Op. 11, No. 3 || RV 336 || Concerto / VPr; V1 V2 Va Vc Bc || A Major || || Example <br />
|-<br />
| Op. 11, No. 4 || RV 308 || Concerto / VPr; V1 V2 Va Vc Bc || G Major || || Example <br />
|-<br />
| Op. 11, No. 5 || RV 202 || Concerto / VPr; V1 V2 Va Vc Bc || G Minor || || Example <br />
|-<br />
| Op. 11, No. 6 || RV 260 || Concerto / VPr; V1 V2 Va Vc Bc || C Minor || Op. 9, No. 3 (RV 334) || Example<br />
|}<br />
<br />
===Op. 12: <i>Sei concerti</i>===<br />
Vivaldi's six concertos Op. 12 (1729) represent the final printed publication of his music. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 12, No. 1 || RV 317 || Concerto / VPr V1 V2 Va Vc Bc || G Minor || Example<br />
|-<br />
| Op. 12, No. 2 || RV 244 || Concerto / VPr V1 V2 Va Vc Bc || D Minor || Example<br />
|-<br />
| Op. 12, No. 3 || RV 124 || Concerto / VPr V1 V2 Va Vc Bc || D Major || Example<br />
|-<br />
| Op. 12, No. 4 || RV 173 || Concerto / VPr V1 V2 Va Vc Bc || C Major || Example<br />
|-<br />
| Op. 12, No. 5 || RV 379 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 12, No. 6 || RV 361 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|}<br />
<br />
==Unpublished instrumental works==<br />
<br />
The number of Vivaldi's unpublished instrumental pieces greatly exceeds those that were printed in the composer's lifetime. They generally follow the same lines and populate the same genres of sonata and concerto. The two most conspicuous differences between the published and unpublished works are that dates of composition are more difficult to pin down for the manuscript works and nearly all of the works with obbligato wind parts were never published. <br />
<br />
Why were works with obbligato winds not published in Vivaldi's time? The demand for works with wind parts was much lower, while learning to play the violin was a popular activity among noblemen. Numerous accounts of special occasions note the addition of local amateur players to orchestras for serenatas and sinfonias. Learning to play a bowed instrument conferred a certain prestige on the fledgling performer. <br />
<br />
In Italy wind instruments, which were not readily available, were required in music for particular kinds of ceremonies or scenes in operas. Nasal reeds, such as the oboe, were used in funeral music or to signify impending doom. Recorders and cross-flutes were associated with peasants and with dancing. Bassoons could signify the underworld. Among brasses, trumpets had been used discreetly to represent military advances and triumphs since before Vivaldi was born, but their appearances were few. <br />
<br />
Vivaldi's interactions with musicians from north of the Alps provided him with incentives to score parts for oboes, bassoons, recorders, cross-flutes, and other novel instruments. He also adapted some of his concertos with a wind instrument instead of a principal violin. Op. 10 is the only print that shows off his wind interests here, but the menu of works related to that set of six (grouped here with Op. 10) shows the latitude (or lack thereof) in adaptations. <br />
<br />
Yet in Italy the idea of using these different timbres together with strings was one that remained somewhat foreign at the end of Vivaldi's life. In his operas, winds were usually deployed in pairs. Quite often their use was limited to opening performances, when entrance fees were higher. Because their players were paid one night at a time, the wind parts did not always survive. Modern editions represent optimal versions of the work at hand, but the fact that many wind parts have only one or two solo episodes in an entire work and otherwise double string parts allows for some latitude in interpretation and some accommodation of strained circumstances.<br />
<br />
=Oratorios=<br />
== [http://wiki.ccarh.org/wiki/Juditha_triumphans <i>Juditha triumphans</i>] ==<br />
<br />
Click title to see separate webpage.<br />
<br />
= References =</div>Edchttps://wiki.ccarh.org/index.php?title=MuseData:_Antonio_Vivaldi&diff=10480MuseData: Antonio Vivaldi2021-03-27T05:30:05Z<p>Edc: /* Op. 8: Il cimento dell'armonia e dell'invenzione: Concerti a quattro e cinque */</p>
<hr />
<div>__TOC__<br />
<br />
<br />
==Published Sonatas and Concertos==<br />
Antonio Lucio Vivaldi (1678-1741) is best known to modern audiences for his instrumental music. Like most composers of his time, Vivaldi composed in the formal medium of the sonata in his earliest publications (from 1703). His reputation was propelled by his concertos, the earliest of which appeared in 1711. This is still the genre with which he is most widely associated. <br />
<br />
===Op. 1: <i>Suonate da camera a trè, due violini e violone o cembalo</i>===<br />
Vivaldi's twelve sonatas Op. 1 are presumed to have been published prior to his appointment as <i>maestro di violino</i> at the Ospedale della Pietà, Venice, because he is described without reference to the institution as "<i>musico di violino, professore veneto</i>" (a violinist and teacher in the Veneto). The works were dedicated to the count Annibale Gambara, one of five sons in a big family of noblemen from Brescia (the city in which Vivaldi's father was born), a provincial capital in the western Veneto. The Gambara also had a modest palace on the Grand Canal in the Venetian parish of San Barnabà. <br />
<br />
[[File:Op1-12_Folia_V1.png|400px|thumb|center|Excerpt from the Violino primo (first violin) part of the Folìa of Vivaldi's Sonata Op. 1, No. 12 (Venice: Giuseppe Sala, 1705). Image from the partbook in the Conservatorio Benedetto Marcello, Venice. Used by permission.]]<br />
<br />
These trio sonatas contained various numbers of movements (3 to 6), most in binary form. The four outer works (Nos. 1, 2, 11, and 12) were in minor keys, the others in major ones. The best known work is Op. 1, No. 12, which features an ambitious <i>folìa</i> movement at its conclusion. The earliest surviving print of Op. 1 was published in Venice (G. Sala) in 1705. The collection was reprinted in Amsterdam in 1723 (E. Roger, as print No. 363), in Paris in 1759 (Le Clerc), and in Austria in 1759. Many movements are brief and musically simple, so much so that were one to judge from this opus alone, one would not have anticipated the kind of success that Vivaldi later found.<br />
<br />
{{VivaldiOp1PDF}}<br />
<br />
===Op. 2: <i>Sonate a violino e basso per il cembalo</i>===<br />
[[File:Carlevaris_FredIV_viaGetty-Google.png|575px|thumb|left|Detail of Luca Carlevaris's depiction of the regatta held on the Grand Canal, Venice, for Frederick IV of Denmark (1709). Reproduction of public-domain image from the Getty Museum as shown in the Google Art project.]]<br />
<br />
The trio sonata, over which Vivaldi had exhibited his command in Op. 1, had been the most prevalent instrumental genre of the 1690s, but in the first decade of the eighteenth century interest began to gravitate towards the "solo" sonata--a work in several movements for one ensemble instrument and a basso continuo. In this 1709 collection by the Venetian publisher Antonio Bortoli, Vivaldi pursued a more expressive vein of musical enticement. The opus was dedicated to the visiting young monarch Frederick IV of Denmark. As prince of Schleswig-Holstein, his extended stay drew much artistic attention. No fewer than three operas were dedicated to him. <br />
<br />
Seven of these sonatas were cast in minor keys. The movement structure remained variable. Vivaldi was moving in the direction of fewer movements but with greater musical elaboration within each movement. He was still described as <i>musico di violino</i> but also as <i>maestro dei concerti</i> (concertmaster) of the Ospedale della Pietà. <br />
<br />
{{VivaldiOp2PDF}}<br />
<br />
Like Op. 1, Op. 2 had a long afterlife in both reprints and manuscript copies, mainly abroad. These included the publications of E. Roger (Amsterdam, 1712) and several editions (1721-1730) by I. Walsh J. Young (London).<br />
<br />
===Op. 3: <i>L'estro armonico: Concerti</i>=== <br />
[[File:Ferdinando_de'_Medici_c1687_Cassana.jpg|300px|thumb|right|Portrait of Ferdinando de' Medici, grand prince of Tuscany, in c. 1687 by the Venetian painter Niccolò Cassana. Wikimedia Commons.]]<br />
<br />
The first concertos by Vivaldi to reach print were those of Opus 3 (Amsterdam, 1711). With them Vivaldi suddenly became a celebrity, for although he was well known as a virtuoso, his previously published works had found a relatively modest reception. Vivaldi's titles remained as they were in Op. 2. Most composers described the contents of a publication in sufficient detail to indicate instrumentation, but Vivaldi settled for the word "Concerti" in order to allow space for the titles of his patron, the Grand Prince of Tuscany, [http://it.wikipedia.org/wiki/Ferdinando_de%27_Medici#Teatro Ferdinando III (1663-1713)]. The Grand Prince, who led a flamboyant life, enjoyed his visits to Venice, where however he contracted syphilis in 1696. This led to his premature death and changed the course of Tuscan (and imperial) history. Meanwhile, however, his patronage of music benefited many composers of the time including [http://en.wikipedia.org/wiki/Tomaso_Albinoni Tomaso Albinoni (1671-1751)], [http://en.wikipedia.org/wiki/Handel George Frederick Handel (1685-1759)], and [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Alessandro Scarlatti (1660-1725)]. His Bavarian wife, [http://it.wikipedia.org/wiki/Violante_Beatrice_di_Baviera Violante Beatrice (1673-1731)], was in many ways a still more significant supporter of individual singers and instrumentalists. <br />
<br />
Having now completed eight years' of teaching at the [[Ospedale of the Pietà]] in Venice, Vivaldi shows himself to have experimented with a variety of approaches to textures and groupings of instruments. These twelve works are arranged cyclically, such that Nos. 1, 4, 7, and 10 are scored for four violins and string orchestra; Nos. 2, 5, 8, and 11 for two violins, violoncello, and string orchestra; and Nos. 3, 6, 9, and 12 for solo violin (Violino Principale) and string orchestra. Within the <i>concertino</i> groups (four violins or, alternatively, two violins and violoncello), there is further separation. The "four violins" model often involves the pairing of the instruments such that one duo imitates another. This kind of experimentation is suggested by the word <i>estro</i>, which refers to gestational properties whereby one musical passage generates the need for the next. In musical terms, the sophistication of the idea represented an enormous step forward for Vivaldi, whose first sonatas were primitive and somewhat generic by comparison. <br />
<br />
Additionally, the music was more cogent than before, the organization manifestly rational. The imaginative scoring, careful markup, and newly pungent musical affects were novelties not found in Opp. 1 or 2. If he had leaned on the familiar models of [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Arcangelo Corelli (1753-1713)] before, Vivaldi was now producing music that was novel, ambitious, and aesthetically pleasing. Largely in coincidence with this publication, Vivaldi's concerts at the Pietà began to win plaudits from a succession of visiting dignitaries from abroad. <br />
<br />
Within the context of the early concerto, Op. 3 was equally noteworthy. The now elderly Corelli had perfected the <i>concerto grosso</i> [his [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli#The_Concerti_grossi_Op._6 Op. 6] would be published only posthumously in 1714]. Vivaldi's concertos for two and four violins had some debts to these works, but his concertos for solo violin and orchestra did not have Corellian models to follow. The trumpet concertos by [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Giuseppe Torelli (1658-1709)] are an oft mentioned alternative model, but Vivaldi's skills at articulation and exhibitionism were unrivaled. The violin was capable of much greater subtlety than the trumpet. <br />
<br />
====Dissemination of Individual Works from Op. 3====<br />
The <i>Concerti</i> Op. 3 were so popular that the entire opus was reprinted in Amsterdam within a year. Other reprints followed in both London and Paris through 1751. Because of the cyclical rotation of different combinations of instruments from work to work individual pieces in Op. 3 led themselves to diverse uses. The basic organization is shown in the table. Parsed one way, it is a four-fold cycle of three works. The textures vary with the instrumentation.<br />
<br />
Several works from Opus 3 took on lives of their own. Six works (indicated by an asterisk*) were transcribed by J. S. Bach, and there are faint clues that Bach may have transcribed them all. Bach was highly sensitive to the cyclical instrumentation of Vivaldi's collection: Nos 1, 4, 7, and 10 were set for two pairs of solo violins; Nos. 2, 5, 8, and 11 for a trio of soloists (two violins and violoncello); Nos. 3, 6, 9, and 12 for principal violin, in all cases with string orchestra. As the table below shows, Bach chose the second type an organ adaptation and the third type for concertos for harpsichord and strings, while the first type served as a model for his lone concerto for four harpsichords and strings. The trio sonata, which was at its peak in the years 1700-1710, was a popular reservoir for organ transcriptions in Germany, but the other adaptations had no such currency. Concertos for four harpsichords were unknown. <br />
<br />
Wide circulation of Vivaldi's concertos was further stimulated by John Walsh's edition of Op. 3 in <i>c.</i> 1715. In this print, the order of Nos. 6-9 was altered so that these concertos became Nos. 8, 9, 6, and 7). The clavichord transcriptions of Anne Dawson include many works in Vivaldi's Opp. 3 and 4 show a further dimension of the music's adaptation. Numerous transcriptions and copies survive in Europe and North America.<br />
<br />
====CCARH Scores and Parts for Opus 3====<br />
[[File:Op3DoverCover.jpg|100px||left]]<br />
<br />
CCARH cooperated with Dover Publications Inc. in producing the scores that appear in <i>L'estro armonico: Twelve Concertos for Violins and String Orchestra, Op. 3</i>. The cover is shown below. The collection entitled <i>L'estro armonico</i> was the first title under Vivaldi's name to draw widespread attention. It is likely that some of the works had already been performed in selected gatherings. They were profusely copied, arranged, and reprinted (with numerous variants) over the next few decades. <br />
<br />
For bound paper copies, see Vivaldi, Antonio. <i>"L'Estro armonico", Op. 3 in Full Score: 12 Concertos for Violins and String Orchestra</i>, ed. Eleanor Selfridge-Field (Mineola, New York: Dover Publications; 1999). Available from Amazon [http://www.amazon.com/exec/obidos/tg/detail/-/0486406318/themefinder/002-2800507-6138416 ISBN 0-486-40631-8] and Dover [http://store.doverpublications.com/review.html?pr_page_id=0486406318 ISBN 0-486-40631-8].<br />
</ul><br />
<br />
{{VivaldiOp3PDF}}<br />
<br><br />
<br />
===Op. 4: <i>La Stravaganza: Concerti in six parts</i>===<br />
Vivaldi's violin concertos Op. 4 (announced in London on January 1, 1715) achieved a much broader penetration of the European market than any previous publication of his music. The collection, published in Amsterdam as Estienne Roger's prints Nos. 399 and 400, bore the title <i>La Stravaganza</i> (The Extravaganza), a designation popular at the time. In musical contexts it usually referred to chromatic harmonies, but in Vivaldi's case it forewarned prospective players of the challenges posed, epsecially for the principal violinist. (Up to this time, Roger had principally offered trio sonatas and concerti grossi, which were less demanding.) <br />
<br />
Op. 4 was a compendium of virtuoso techniques that were popularized by Vivaldi, who, as a performer, was known far and wide for his daring. His near-peers in this regard were violinist-composers such as Tomaso Albinoni and Lodovico Madonis, but their most demanding works appeared some years later and were less widely distributed. Op. 4 was dedicated to a Venetian nobleman, Vettor Delfin, whose family were largely engaged in military affairs. With only one exception (Op. 4, No. 7), the concertos were written in three movements. <br />
<br />
At the time Op. 4 appeared, Vivaldi had been filling holes left by the departure of [http://it.wikipedia.org/wiki/Francesco_Gasparini Francesco Gasparini (1661-1727)] at the Pietà. He was now turning his attention to motets and oratorios <i>per force</i> to bridge the gap left by Gasparini. It is therefore likely that most of these pieces were composed before the elder <i>maestro</i>'s departure. Reprints of Op. 4 appeared in 1723, 1728, and 1730, but selected individual works enjoyed independent circulation. Vivaldi had now reached the point where demand for his instrumental music exceeded the amount of time he could afford to devote to it. It may be for this reason that echoes of Op. 4 appear in a few later works by Vivaldi. Op. 7, No. 1, for example, was a first cousin of Op. 4, No. 9; myriad other variants of this set were quoted in later works. The cumulative effect was a splintering of work-identities that still confuse musicians today. Vivaldi himself adapted many of his works to suit new purposes as appropriate occasions arose. <br />
<br />
{{VivaldiOp4PDF}}<br />
<br />
===Op. 5: <i>VI Sonate/quatro à violino solo e basso e due a due violini e basso continuo</i>===<br />
Four of the six sonatas of Op. 5, published in Amsterdam (1716) as Estienne Roger's print No. 418, may have been remainders of Vivaldi's Op. 2, an opus consisting of a dozen solo violin sonatas. In Op. 5 we find four solo sonatas and two trio sonatas. During the visit of the young Danish king Frederick Christian IV to Venice in the winter of 1709, a great many banquets and balls were planned. Easily half of them were canceled either by hosts or guests because many people (including the doge and one of the Republic's official hosts) died. No autograph material for this opus survives. Op. 2 had been dedicated to Frederick Christian, but Op. 5 was an orphan of sorts. It contained a mixed repertory, lacked a dedicatee, and found insufficient popularity to prompt reprints. Few works were copied in manuscript. An exception was the first movement of Op. 5, No. 6, which was included in J. B. Cartier's <i>L'Art du Violon</i> (Paris, 1798). <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 5, No. 1 || RV 18 || Sonata / V, Bc || F Major || Example<br />
|-<br />
| Op. 5, No. 2 || RV 30 || Sonata / V, Bc || A Major || Example<br />
|-<br />
| Op. 5, No. 3 || RV 33 || Sonata / V, Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 4 || RV 35 || Sonata / V, Bc || B Minor || Example<br />
|-<br />
| Op. 5, No. 5 || RV 76 || Sonata / V1, V2, Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 6 || RV 72 || Sonata / V1, V2, Bc || G Minor || Example<br />
|}<br />
<br />
===Op. 6: <i>VI Concerti à cinque strumenti: 3 violini, alto viola, e basso continuo</i>===<br />
The six concertos for violin and strings of Op. 6, published in Amsterdam in 1716-1717 by Jeanne Roger (as her firm's print No. 452) represent both a continuation and a departure. The instrumental requirements are identical to those of Op. 4: they require a principal violin and a small string orchestra. This short collection could have served as a supplement to Op. 4, given the pattern set by Opp. 2 and 5 (another short set). The absence of a dedicatee and sundry details of the music suggest that Vivaldi did not actively seek this publication and that the print was therefore unauthorized. Mme. Roger heralded Vivaldi's titles as <i>maestro di violino</i> and <i>maestro di concerti</i> at the Pietà. <br />
<br />
Musically, five of the six works are in minor keys. Again forming a parallel with Op. 5, it was not followed by myriad other editions, although Le Cène brought out one (undated) reprint.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 6, No. 1 || RV 324 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 2 || RV 259 || Converto / VPr; V1 V2 Va Vc Org || C Minor || Example<br />
|-<br />
| Op. 6, No. 3 || RV 318 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 4 || RV 216 || Concerto / VPr; V1 V2 Va Vc Org || D Major || Example<br />
|-<br />
| Op. 6, No. 5 || RV 280 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || Example<br />
|-<br />
| Op. 6, No. 6 || RV 239 || Concerto / VPr; V1 V2 Va Vc Org || D Minor || Example<br />
|}<br />
<br />
===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===<br />
<br />
Vivsaldi's 12 concertos <i>a 5</i> (meaning three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for the solo episodes of the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained three movements. One can see that Vivaldi's idea of concerto had evolved considerably over a decade. The oboe arrangements of Nos. 1 and No. 7, as well as No. 9 (reset for oboe in a later opus) are now considered spurious. <br />
<br />
As scores passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his concertos began to take on a life of their own. No. 1 was revised by Johann Pisendel (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden Hofkapelle. <br />
No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro." No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in Walsh & Hare's anthology <i>Select Harmony</i> (1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work incudes a written cadenza. It was also transcribed by J. S. Bach for organ as BWV 594. Parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 7, No. 1 || RV 465 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 143 || Example<br />
|-<br />
| Op. 7, No. 2 || RV 188 || Concerto / VPr; V1 V2 Va Vc Org || C Major || || Example<br />
|-<br />
| Op. 7, No. 3 || RV 326 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || RV 370 || Example<br />
|-<br />
| Op. 7, No. 4 || RV 354 || Concerto / VPr; V1 V2 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 7, No. 5 || RV 285a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 285 || Example<br />
|-<br />
| Op. 7, No. 6 || RV 374 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 7, No. 7 || RV 464 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 142 || Example<br />
|-<br />
| Op. 7, No. 8 || RV 299 || Concerto / VPr; V1 V2 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 7, No. 9 || RV 373 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 153 || Example<br />
|-<br />
| Op. 7, No. 10 || RV 294a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 294 || Example<br />
|-<br />
| Op. 7, No. 11 || RV 208a || Concerto / VPr; V1 V2 Va Vc Org || D Major || BWV 594 (organ) || Example<br />
|-<br />
| Op. 7, No. 12 || RV 214 || Concerto / VPr; V1 V2 Va Vc Org || D Major || || Example<br />
|}<br />
<br />
===Op. 8: <i>Il cimento dell'armonia e dell'invenzione: Concerti a quattro e cinque</i>===<br />
Vivaldi's most famous opus was published in Amsterdam by Michel Charles Le Cène in 1725. It is clear, though, that various portions of sundry works had been written earlier. What was perhaps new was the formalization of the scheme, complete with the texts of the sonnets with which they were coordinated, of the first four concertos--The Four Seasons. These works, and their cyclical organization, captured the imagination of many and led to a "Four Seasons" industry of arrangements and performances that extends to the current day. <br />
<br />
Unlike other opuses that postdated Vivaldi's move to Mantua, this one resumed the practice of dedicating the collection to a nobleman, in this case Venceslas, count of Morzin (also Morcin, spelled Marzin in the print itself). Two concertos known only in manuscript, RV 449 and 496, were also dedicated to the count. <br />
He was Bohemian with townhouses in Prague and Vienna. He was an occasional patron of Venetian opera. Prague, the capital of Bohemia, was a thriving city with rapidly developing enterprises focused on opera and on the development of string music. One can see how poetic justice prevailed in this dedication: Bohemians not only loved music but were happy to master its component parts. <br />
<br />
This opus was more popular in France than anywhere else. Parisian reprints issued from the presses of Madame Boivin (c. 1739, 1743, 1748). Manuscripts were widely circulated. Rearrangements of portions of the opus were also proliferated. In Dresden, the orchestration of some works was enriched by Johann Pisendel, who also elaborated some of the articulation. <br />
<br />
In the works as a set, major keys predominate. Nos. 7, 9, and 11 are known in alternative versions. The final of movement of Op. 8, No. 11 presents a particularly complex web of revisions to the alternation of tutti and solo. <br />
<br />
====CCARH Parts for Op. 8====<br />
The following parts for Antonio Vivaldi's Op.8 concerti accompany the full score available from Dover Publications:<br />
<br />
* Vivaldi, Antonio. "The Four Seasons" and Other Violin Concertos in Full Score; Opus 8, Complete. Ed. by Eleanor Selfridge-Field. Mineola, New York: Dover Publications; 1995. ISBN 0-486-28638-X.<br />
<br />
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{{VivaldiOp8PDFTable}}<br />
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<br><br />
<br />
===Op. 9: <i>La cetra. Concerti</i>===<br />
Vivaldi's Concertos Op. 9, published in Amsterdam by Michel Charles Le Cène in Vols. 533 and 534 (datable from 1727), have the distinction of having been dedicated to the emperor Charles VI. The two met two years later in Trieste, where the emperor was more enraptured by Vivaldi's music and the intelligence with which he discussed it than with the diplomatic matters at hand. Op. 9 is easily confused with a contemporary set of twelve unpublished concertos for violin also called "La Cetra," that Vivaldi presented to the Emperor during his 1729 visit, as part of a diplomatic delegation, to Trieste. <br />
<br />
The works of Op. 9 were not so widely circulated as those of other recent volumes of Vivaldi's music, and a few were not new. (Three of the works were known in alternative versions.) The popularity of the "Four Seasons" concertos (Op. 8, Nos. 1-4) blinded the public to Vivaldi's future prints, while Vivaldi's own interest in publishing instrumental music was also in decline after the appearance of this collection. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 9, No. 1 || RV 181a || [VPr]; V1 V2 V3 Va Vc Org || C Major || RV 180 || Example<br />
|-<br />
| Op. 9, No. 2 || RV 375 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 3 || RV 334 || [VPr]; V1 V2 V3 Va Vc Org || G Minor || || Example<br />
|-<br />
| Op. 9, No. 4 || RV 263a || [VPr]; V1 V2 V3 Va Vc Org || E Major || RV 263 || Example<br />
|-<br />
| Op. 9, No. 5 || RV 358 || [VPr]; V1 V2 V3 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 9, No. 6 || RV 348 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 7 || RV 359 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 8 || RV 238 || [VPr]; V1 V2 V3 Va Vc Org || D Minor || || Example<br />
|-<br />
| Op. 9, No. 9 || RV 530 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 10 || RV 300 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 9, No. 11 || RV 198a || [VPr]; V1 V2 V3 Va Vc Org || C Minor || RV 198 || Example<br />
|-<br />
| Op. 9, No. 12 || RV 391 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|}<br />
<br />
The part for <i>Violino Principale</i> is lost, although a manuscript part-book for it survives for a few works.<br />
<br />
===Op. 10: <i>VI Concerti a flauto traverso</i>===<br />
Six Concertos for Flute and String Orchestra, Op. 10; Related Variants<br />
<br />
As published, Vivaldi's Opus 10 is a straightforward collection of concertos for flute and string orchestra. <br />
Most works which originally called for obbligato flutes seem to have originated during the early 1720s, perhaps reflecting opportunities that Vivaldi encountered in Rome, where he stayed intermittently between c. 1719 and 1724. Although the transverse flute was then little known in Italy, the availability of an excellent player is was essential for the execution of several of his works for it. <br />
<br />
Opus 10 appeared in 1729, in rough coincidence with Vivaldi's violin concertos Opp. 11 and 12, but most of the work are likely to have composed years earlier. All three volumes were published in Amsterdam. Although published set was designed for a market oriented towards a standardized, relatively neutral instrumentation, the origins of the individual works were heterogeneous. The indications suggested by the related concertos listed on the lower half of the chart do not include subtle differences of instrumental alternatives and/or pairings--for example, an independent oboe part vs. an oboe part duplicating a second violin, a separate cello part vs. an unspecified Basso, and so forth. These are among the kinds of details that have necessitated separate listings for works that are musically similar. One manuscript source for No. 3 is scored for recorder rather than violin. <br />
<br />
The transverse flute and the recorder were both associated with a certain freedom of timbral choice. The so-called chamber concertos (RV 570, 90, and 101) for flute (or recorder), oboe, bassoon, violin, and bass can be understood to signify this sense of free play, rather than to represent a sub-genre cast in concrete. Although Vivaldi's chamber concertos had few analogues during Vivaldi's lifetime, they paved the way to a rich chamber repertory in the later eighteenth century.<br />
<br />
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{{VivaldiOpl0PDFTable}}<br />
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<br />
The first three works are the best known ones of the collection, but their nicknames accrued over time. Their programmatic allusions are largely confirmed in associated manuscripts. Storms at sea and phantoms of the night (the images cultivated by the first two pieces) were staples of opera staging at Venice's Teatro Sant'Angelo, the Venetian theater with which Vivaldi and his father were most consistently associated. Both played a prominent role in Venetian scene paintings contemporary with Vivaldi. <br />
<br />
The representation of sleep in the fourth movement of Op 10, No. 2, is illustrative of a fascination with dreams and the supernatural that was probed cautiously on the stage because of the pervasive scrutiny of religious censors. However, the dramatization of darkness fed Sant'Angelo's penchant for grottoes and grotesque scenes. It is darkness that the bassoon invokes in the manuscript RV 501 (the loose analogue of No. 2), where the the key is Bb Major rather than G Minor.<br />
<br />
Vivaldi's depictions of bird-calls (in Op. 10, No. 3 a bullfinch) were prevalent not only in his concertos but also in his operas, and in dozens of works by other composers of the time. Also elsewhere they often suggested the formal gardens that were so much promoted by the aristocracy, in Vivaldi's case they are more often a natural depiction of bucolic habitats consistent with the imagery of Arcadian shepherds than of programmed landscapes abroad. <br />
<br />
The <i>sopranino</i> recorder concerto RV 444 is a unique work among Vivaldi's <i>oeuvre</i>, although it could easily have been adapted to a different soloist. It would have suited a virtuoso of considerable renown.<br />
<br />
The parts provided here correspond to the Dover Publication entitled <i>Six Concertos for Flute and String Orchestra, Op. 10, and Related Variants</i>.<br />
<br />
===Op. 11: <i>Sei concerti</i>===<br />
In Opp. 11 and 12 Vivaldi returned to the practice of publishing six works at a time. His earlier 12-work prints are usually presented as two books of six, but there were practical benefits to grouping the works into two sets. Opp. 11 and 12 appear to be cut from the same cloth and may have been intended as a single publication. They appeared with consecutive print numbers (Nos. 545, 546) from presses of Michel Charles Le Cène in 1729. In comparison to all of Vivaldi's music printed since 1711 they were poorly circulated.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Related works !! Score <br />
|-<br />
| Op. 11, No. 1 || RV 207 || Concerto / VPr; V1 V2 Va Vc Bc || D Major || || Example<br />
|-<br />
| Op. 11, No. 2 || RV 277 || Concerto / VPr; V1 V2 Va Vc Bc || E Minor || Nicknamed "Il Favorito" || Example<br />
|-<br />
| Op. 11, No. 3 || RV 336 || Concerto / VPr; V1 V2 Va Vc Bc || A Major || || Example <br />
|-<br />
| Op. 11, No. 4 || RV 308 || Concerto / VPr; V1 V2 Va Vc Bc || G Major || || Example <br />
|-<br />
| Op. 11, No. 5 || RV 202 || Concerto / VPr; V1 V2 Va Vc Bc || G Minor || || Example <br />
|-<br />
| Op. 11, No. 6 || RV 260 || Concerto / VPr; V1 V2 Va Vc Bc || C Minor || Op. 9, No. 3 (RV 334) || Example<br />
|}<br />
<br />
===Op. 12: <i>Sei concerti</i>===<br />
Vivaldi's six concertos Op. 12 (1729) represent the final printed publication of his music. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 12, No. 1 || RV 317 || Concerto / VPr V1 V2 Va Vc Bc || G Minor || Example<br />
|-<br />
| Op. 12, No. 2 || RV 244 || Concerto / VPr V1 V2 Va Vc Bc || D Minor || Example<br />
|-<br />
| Op. 12, No. 3 || RV 124 || Concerto / VPr V1 V2 Va Vc Bc || D Major || Example<br />
|-<br />
| Op. 12, No. 4 || RV 173 || Concerto / VPr V1 V2 Va Vc Bc || C Major || Example<br />
|-<br />
| Op. 12, No. 5 || RV 379 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 12, No. 6 || RV 361 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|}<br />
<br />
==Unpublished instrumental works==<br />
<br />
The number of Vivaldi's unpublished instrumental pieces greatly exceeds those that were printed in the composer's lifetime. They generally follow the same lines and populate the same genres of sonata and concerto. The two most conspicuous differences between the published and unpublished works are that dates of composition are more difficult to pin down for the manuscript works and nearly all of the works with obbligato wind parts were never published. <br />
<br />
Why were works with obbligato winds not published in Vivaldi's time? The demand for works with wind parts was much lower, while learning to play the violin was a popular activity among noblemen. Numerous accounts of special occasions note the addition of local amateur players to orchestras for serenatas and sinfonias. Learning to play a bowed instrument conferred a certain prestige on the fledgling performer. <br />
<br />
In Italy wind instruments, which were not readily available, were required in music for particular kinds of ceremonies or scenes in operas. Nasal reeds, such as the oboe, were used in funeral music or to signify impending doom. Recorders and cross-flutes were associated with peasants and with dancing. Bassoons could signify the underworld. Among brasses, trumpets had been used discreetly to represent military advances and triumphs since before Vivaldi was born, but their appearances were few. <br />
<br />
Vivaldi's interactions with musicians from north of the Alps provided him with incentives to score parts for oboes, bassoons, recorders, cross-flutes, and other novel instruments. He also adapted some of his concertos with a wind instrument instead of a principal violin. Op. 10 is the only print that shows off his wind interests here, but the menu of works related to that set of six (grouped here with Op. 10) shows the latitude (or lack thereof) in adaptations. <br />
<br />
Yet in Italy the idea of using these different timbres together with strings was one that remained somewhat foreign at the end of Vivaldi's life. In his operas, winds were usually deployed in pairs. Quite often their use was limited to opening performances, when entrance fees were higher. Because their players were paid one night at a time, the wind parts did not always survive. Modern editions represent optimal versions of the work at hand, but the fact that many wind parts have only one or two solo episodes in an entire work and otherwise double string parts allows for some latitude in interpretation and some accommodation of strained circumstances.<br />
<br />
=Oratorios=<br />
== [http://wiki.ccarh.org/wiki/Juditha_triumphans <i>Juditha triumphans</i>] ==<br />
<br />
Click title to see separate webpage.<br />
<br />
= References =</div>Edchttps://wiki.ccarh.org/index.php?title=MuseData:_Antonio_Vivaldi&diff=10479MuseData: Antonio Vivaldi2021-03-25T04:43:36Z<p>Edc: /* CCARH Scores and Parts for Opus 3 */</p>
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<div>__TOC__<br />
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<br />
==Published Sonatas and Concertos==<br />
Antonio Lucio Vivaldi (1678-1741) is best known to modern audiences for his instrumental music. Like most composers of his time, Vivaldi composed in the formal medium of the sonata in his earliest publications (from 1703). His reputation was propelled by his concertos, the earliest of which appeared in 1711. This is still the genre with which he is most widely associated. <br />
<br />
===Op. 1: <i>Suonate da camera a trè, due violini e violone o cembalo</i>===<br />
Vivaldi's twelve sonatas Op. 1 are presumed to have been published prior to his appointment as <i>maestro di violino</i> at the Ospedale della Pietà, Venice, because he is described without reference to the institution as "<i>musico di violino, professore veneto</i>" (a violinist and teacher in the Veneto). The works were dedicated to the count Annibale Gambara, one of five sons in a big family of noblemen from Brescia (the city in which Vivaldi's father was born), a provincial capital in the western Veneto. The Gambara also had a modest palace on the Grand Canal in the Venetian parish of San Barnabà. <br />
<br />
[[File:Op1-12_Folia_V1.png|400px|thumb|center|Excerpt from the Violino primo (first violin) part of the Folìa of Vivaldi's Sonata Op. 1, No. 12 (Venice: Giuseppe Sala, 1705). Image from the partbook in the Conservatorio Benedetto Marcello, Venice. Used by permission.]]<br />
<br />
These trio sonatas contained various numbers of movements (3 to 6), most in binary form. The four outer works (Nos. 1, 2, 11, and 12) were in minor keys, the others in major ones. The best known work is Op. 1, No. 12, which features an ambitious <i>folìa</i> movement at its conclusion. The earliest surviving print of Op. 1 was published in Venice (G. Sala) in 1705. The collection was reprinted in Amsterdam in 1723 (E. Roger, as print No. 363), in Paris in 1759 (Le Clerc), and in Austria in 1759. Many movements are brief and musically simple, so much so that were one to judge from this opus alone, one would not have anticipated the kind of success that Vivaldi later found.<br />
<br />
{{VivaldiOp1PDF}}<br />
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===Op. 2: <i>Sonate a violino e basso per il cembalo</i>===<br />
[[File:Carlevaris_FredIV_viaGetty-Google.png|575px|thumb|left|Detail of Luca Carlevaris's depiction of the regatta held on the Grand Canal, Venice, for Frederick IV of Denmark (1709). Reproduction of public-domain image from the Getty Museum as shown in the Google Art project.]]<br />
<br />
The trio sonata, over which Vivaldi had exhibited his command in Op. 1, had been the most prevalent instrumental genre of the 1690s, but in the first decade of the eighteenth century interest began to gravitate towards the "solo" sonata--a work in several movements for one ensemble instrument and a basso continuo. In this 1709 collection by the Venetian publisher Antonio Bortoli, Vivaldi pursued a more expressive vein of musical enticement. The opus was dedicated to the visiting young monarch Frederick IV of Denmark. As prince of Schleswig-Holstein, his extended stay drew much artistic attention. No fewer than three operas were dedicated to him. <br />
<br />
Seven of these sonatas were cast in minor keys. The movement structure remained variable. Vivaldi was moving in the direction of fewer movements but with greater musical elaboration within each movement. He was still described as <i>musico di violino</i> but also as <i>maestro dei concerti</i> (concertmaster) of the Ospedale della Pietà. <br />
<br />
{{VivaldiOp2PDF}}<br />
<br />
Like Op. 1, Op. 2 had a long afterlife in both reprints and manuscript copies, mainly abroad. These included the publications of E. Roger (Amsterdam, 1712) and several editions (1721-1730) by I. Walsh J. Young (London).<br />
<br />
===Op. 3: <i>L'estro armonico: Concerti</i>=== <br />
[[File:Ferdinando_de'_Medici_c1687_Cassana.jpg|300px|thumb|right|Portrait of Ferdinando de' Medici, grand prince of Tuscany, in c. 1687 by the Venetian painter Niccolò Cassana. Wikimedia Commons.]]<br />
<br />
The first concertos by Vivaldi to reach print were those of Opus 3 (Amsterdam, 1711). With them Vivaldi suddenly became a celebrity, for although he was well known as a virtuoso, his previously published works had found a relatively modest reception. Vivaldi's titles remained as they were in Op. 2. Most composers described the contents of a publication in sufficient detail to indicate instrumentation, but Vivaldi settled for the word "Concerti" in order to allow space for the titles of his patron, the Grand Prince of Tuscany, [http://it.wikipedia.org/wiki/Ferdinando_de%27_Medici#Teatro Ferdinando III (1663-1713)]. The Grand Prince, who led a flamboyant life, enjoyed his visits to Venice, where however he contracted syphilis in 1696. This led to his premature death and changed the course of Tuscan (and imperial) history. Meanwhile, however, his patronage of music benefited many composers of the time including [http://en.wikipedia.org/wiki/Tomaso_Albinoni Tomaso Albinoni (1671-1751)], [http://en.wikipedia.org/wiki/Handel George Frederick Handel (1685-1759)], and [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Alessandro Scarlatti (1660-1725)]. His Bavarian wife, [http://it.wikipedia.org/wiki/Violante_Beatrice_di_Baviera Violante Beatrice (1673-1731)], was in many ways a still more significant supporter of individual singers and instrumentalists. <br />
<br />
Having now completed eight years' of teaching at the [[Ospedale of the Pietà]] in Venice, Vivaldi shows himself to have experimented with a variety of approaches to textures and groupings of instruments. These twelve works are arranged cyclically, such that Nos. 1, 4, 7, and 10 are scored for four violins and string orchestra; Nos. 2, 5, 8, and 11 for two violins, violoncello, and string orchestra; and Nos. 3, 6, 9, and 12 for solo violin (Violino Principale) and string orchestra. Within the <i>concertino</i> groups (four violins or, alternatively, two violins and violoncello), there is further separation. The "four violins" model often involves the pairing of the instruments such that one duo imitates another. This kind of experimentation is suggested by the word <i>estro</i>, which refers to gestational properties whereby one musical passage generates the need for the next. In musical terms, the sophistication of the idea represented an enormous step forward for Vivaldi, whose first sonatas were primitive and somewhat generic by comparison. <br />
<br />
Additionally, the music was more cogent than before, the organization manifestly rational. The imaginative scoring, careful markup, and newly pungent musical affects were novelties not found in Opp. 1 or 2. If he had leaned on the familiar models of [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Arcangelo Corelli (1753-1713)] before, Vivaldi was now producing music that was novel, ambitious, and aesthetically pleasing. Largely in coincidence with this publication, Vivaldi's concerts at the Pietà began to win plaudits from a succession of visiting dignitaries from abroad. <br />
<br />
Within the context of the early concerto, Op. 3 was equally noteworthy. The now elderly Corelli had perfected the <i>concerto grosso</i> [his [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli#The_Concerti_grossi_Op._6 Op. 6] would be published only posthumously in 1714]. Vivaldi's concertos for two and four violins had some debts to these works, but his concertos for solo violin and orchestra did not have Corellian models to follow. The trumpet concertos by [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Giuseppe Torelli (1658-1709)] are an oft mentioned alternative model, but Vivaldi's skills at articulation and exhibitionism were unrivaled. The violin was capable of much greater subtlety than the trumpet. <br />
<br />
====Dissemination of Individual Works from Op. 3====<br />
The <i>Concerti</i> Op. 3 were so popular that the entire opus was reprinted in Amsterdam within a year. Other reprints followed in both London and Paris through 1751. Because of the cyclical rotation of different combinations of instruments from work to work individual pieces in Op. 3 led themselves to diverse uses. The basic organization is shown in the table. Parsed one way, it is a four-fold cycle of three works. The textures vary with the instrumentation.<br />
<br />
Several works from Opus 3 took on lives of their own. Six works (indicated by an asterisk*) were transcribed by J. S. Bach, and there are faint clues that Bach may have transcribed them all. Bach was highly sensitive to the cyclical instrumentation of Vivaldi's collection: Nos 1, 4, 7, and 10 were set for two pairs of solo violins; Nos. 2, 5, 8, and 11 for a trio of soloists (two violins and violoncello); Nos. 3, 6, 9, and 12 for principal violin, in all cases with string orchestra. As the table below shows, Bach chose the second type an organ adaptation and the third type for concertos for harpsichord and strings, while the first type served as a model for his lone concerto for four harpsichords and strings. The trio sonata, which was at its peak in the years 1700-1710, was a popular reservoir for organ transcriptions in Germany, but the other adaptations had no such currency. Concertos for four harpsichords were unknown. <br />
<br />
Wide circulation of Vivaldi's concertos was further stimulated by John Walsh's edition of Op. 3 in <i>c.</i> 1715. In this print, the order of Nos. 6-9 was altered so that these concertos became Nos. 8, 9, 6, and 7). The clavichord transcriptions of Anne Dawson include many works in Vivaldi's Opp. 3 and 4 show a further dimension of the music's adaptation. Numerous transcriptions and copies survive in Europe and North America.<br />
<br />
====CCARH Scores and Parts for Opus 3====<br />
[[File:Op3DoverCover.jpg|100px||left]]<br />
<br />
CCARH cooperated with Dover Publications Inc. in producing the scores that appear in <i>L'estro armonico: Twelve Concertos for Violins and String Orchestra, Op. 3</i>. The cover is shown below. The collection entitled <i>L'estro armonico</i> was the first title under Vivaldi's name to draw widespread attention. It is likely that some of the works had already been performed in selected gatherings. They were profusely copied, arranged, and reprinted (with numerous variants) over the next few decades. <br />
<br />
For bound paper copies, see Vivaldi, Antonio. <i>"L'Estro armonico", Op. 3 in Full Score: 12 Concertos for Violins and String Orchestra</i>, ed. Eleanor Selfridge-Field (Mineola, New York: Dover Publications; 1999). Available from Amazon [http://www.amazon.com/exec/obidos/tg/detail/-/0486406318/themefinder/002-2800507-6138416 ISBN 0-486-40631-8] and Dover [http://store.doverpublications.com/review.html?pr_page_id=0486406318 ISBN 0-486-40631-8].<br />
</ul><br />
<br />
{{VivaldiOp3PDF}}<br />
<br><br />
<br />
===Op. 4: <i>La Stravaganza: Concerti in six parts</i>===<br />
Vivaldi's violin concertos Op. 4 (announced in London on January 1, 1715) achieved a much broader penetration of the European market than any previous publication of his music. The collection, published in Amsterdam as Estienne Roger's prints Nos. 399 and 400, bore the title <i>La Stravaganza</i> (The Extravaganza), a designation popular at the time. In musical contexts it usually referred to chromatic harmonies, but in Vivaldi's case it forewarned prospective players of the challenges posed, epsecially for the principal violinist. (Up to this time, Roger had principally offered trio sonatas and concerti grossi, which were less demanding.) <br />
<br />
Op. 4 was a compendium of virtuoso techniques that were popularized by Vivaldi, who, as a performer, was known far and wide for his daring. His near-peers in this regard were violinist-composers such as Tomaso Albinoni and Lodovico Madonis, but their most demanding works appeared some years later and were less widely distributed. Op. 4 was dedicated to a Venetian nobleman, Vettor Delfin, whose family were largely engaged in military affairs. With only one exception (Op. 4, No. 7), the concertos were written in three movements. <br />
<br />
At the time Op. 4 appeared, Vivaldi had been filling holes left by the departure of [http://it.wikipedia.org/wiki/Francesco_Gasparini Francesco Gasparini (1661-1727)] at the Pietà. He was now turning his attention to motets and oratorios <i>per force</i> to bridge the gap left by Gasparini. It is therefore likely that most of these pieces were composed before the elder <i>maestro</i>'s departure. Reprints of Op. 4 appeared in 1723, 1728, and 1730, but selected individual works enjoyed independent circulation. Vivaldi had now reached the point where demand for his instrumental music exceeded the amount of time he could afford to devote to it. It may be for this reason that echoes of Op. 4 appear in a few later works by Vivaldi. Op. 7, No. 1, for example, was a first cousin of Op. 4, No. 9; myriad other variants of this set were quoted in later works. The cumulative effect was a splintering of work-identities that still confuse musicians today. Vivaldi himself adapted many of his works to suit new purposes as appropriate occasions arose. <br />
<br />
{{VivaldiOp4PDF}}<br />
<br />
===Op. 5: <i>VI Sonate/quatro à violino solo e basso e due a due violini e basso continuo</i>===<br />
Four of the six sonatas of Op. 5, published in Amsterdam (1716) as Estienne Roger's print No. 418, may have been remainders of Vivaldi's Op. 2, an opus consisting of a dozen solo violin sonatas. In Op. 5 we find four solo sonatas and two trio sonatas. During the visit of the young Danish king Frederick Christian IV to Venice in the winter of 1709, a great many banquets and balls were planned. Easily half of them were canceled either by hosts or guests because many people (including the doge and one of the Republic's official hosts) died. No autograph material for this opus survives. Op. 2 had been dedicated to Frederick Christian, but Op. 5 was an orphan of sorts. It contained a mixed repertory, lacked a dedicatee, and found insufficient popularity to prompt reprints. Few works were copied in manuscript. An exception was the first movement of Op. 5, No. 6, which was included in J. B. Cartier's <i>L'Art du Violon</i> (Paris, 1798). <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 5, No. 1 || RV 18 || Sonata / V, Bc || F Major || Example<br />
|-<br />
| Op. 5, No. 2 || RV 30 || Sonata / V, Bc || A Major || Example<br />
|-<br />
| Op. 5, No. 3 || RV 33 || Sonata / V, Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 4 || RV 35 || Sonata / V, Bc || B Minor || Example<br />
|-<br />
| Op. 5, No. 5 || RV 76 || Sonata / V1, V2, Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 6 || RV 72 || Sonata / V1, V2, Bc || G Minor || Example<br />
|}<br />
<br />
===Op. 6: <i>VI Concerti à cinque strumenti: 3 violini, alto viola, e basso continuo</i>===<br />
The six concertos for violin and strings of Op. 6, published in Amsterdam in 1716-1717 by Jeanne Roger (as her firm's print No. 452) represent both a continuation and a departure. The instrumental requirements are identical to those of Op. 4: they require a principal violin and a small string orchestra. This short collection could have served as a supplement to Op. 4, given the pattern set by Opp. 2 and 5 (another short set). The absence of a dedicatee and sundry details of the music suggest that Vivaldi did not actively seek this publication and that the print was therefore unauthorized. Mme. Roger heralded Vivaldi's titles as <i>maestro di violino</i> and <i>maestro di concerti</i> at the Pietà. <br />
<br />
Musically, five of the six works are in minor keys. Again forming a parallel with Op. 5, it was not followed by myriad other editions, although Le Cène brought out one (undated) reprint.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 6, No. 1 || RV 324 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 2 || RV 259 || Converto / VPr; V1 V2 Va Vc Org || C Minor || Example<br />
|-<br />
| Op. 6, No. 3 || RV 318 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 4 || RV 216 || Concerto / VPr; V1 V2 Va Vc Org || D Major || Example<br />
|-<br />
| Op. 6, No. 5 || RV 280 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || Example<br />
|-<br />
| Op. 6, No. 6 || RV 239 || Concerto / VPr; V1 V2 Va Vc Org || D Minor || Example<br />
|}<br />
<br />
===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===<br />
<br />
Vivsaldi's 12 concertos <i>a 5</i> (meaning three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for the solo episodes of the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained three movements. One can see that Vivaldi's idea of concerto had evolved considerably over a decade. The oboe arrangements of Nos. 1 and No. 7, as well as No. 9 (reset for oboe in a later opus) are now considered spurious. <br />
<br />
As scores passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his concertos began to take on a life of their own. No. 1 was revised by Johann Pisendel (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden Hofkapelle. <br />
No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro." No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in Walsh & Hare's anthology <i>Select Harmony</i> (1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work incudes a written cadenza. It was also transcribed by J. S. Bach for organ as BWV 594. Parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 7, No. 1 || RV 465 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 143 || Example<br />
|-<br />
| Op. 7, No. 2 || RV 188 || Concerto / VPr; V1 V2 Va Vc Org || C Major || || Example<br />
|-<br />
| Op. 7, No. 3 || RV 326 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || RV 370 || Example<br />
|-<br />
| Op. 7, No. 4 || RV 354 || Concerto / VPr; V1 V2 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 7, No. 5 || RV 285a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 285 || Example<br />
|-<br />
| Op. 7, No. 6 || RV 374 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 7, No. 7 || RV 464 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 142 || Example<br />
|-<br />
| Op. 7, No. 8 || RV 299 || Concerto / VPr; V1 V2 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 7, No. 9 || RV 373 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 153 || Example<br />
|-<br />
| Op. 7, No. 10 || RV 294a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 294 || Example<br />
|-<br />
| Op. 7, No. 11 || RV 208a || Concerto / VPr; V1 V2 Va Vc Org || D Major || BWV 594 (organ) || Example<br />
|-<br />
| Op. 7, No. 12 || RV 214 || Concerto / VPr; V1 V2 Va Vc Org || D Major || || Example<br />
|}<br />
<br />
===Op. 8: <i>Il cimento dell'armonia e dell'invenzione: Concerti a quattro e cinque</i>===<br />
Vivaldi's most famous opus was published in Amsterdam by Michel Charles Le Cène in 1725. It is clear, though, that various portions of sundry works had been written earlier. What was perhaps new was the formalization of the scheme, complete with the texts of the sonnets with which they were coordinated, of the first four concertos--The Four Seasons. These works, and their cyclical organization, captured the imagination of many and led to a "Four Seasons" industry of arrangements performances that extends to the current day. <br />
<br />
Unlike other opuses that postdated Vivaldi's move to Mantua, this one resumed the practice of dedicating the collection to a nobleman, in this case Venceslas, count of Morzin (also Morcin, spelled Marzin in the print itself). (Two concertos known only in manuscript, RV 449 and 496, were also dedicated to the count. <br />
He was Bohemian with townhouses in Prague and Vienna. He was an occasional patron of Venetian opera. Prague, the capital of Bohemia, was a thriving city was rapidly developing enterprises focused on opera and on the development of string music. One can see how poetic justice prevailed in this dedication: Bohemians not only loved music but were happy to master its component parts. <br />
<br />
This opus was more popular in France than anywhere else. Parisian reprints issued from the presses of Madame Boivin (c. 1739, 1743, 1748). Manuscripts were widely circulated. Rearrangements of portions of the opus were opus also proliferated. In Dresden, the orchestration of some works was enriched by Johann Pisendel, who also elaborated some of the articulation. <br />
<br />
In the works as a set, major keys predominate. Nos. 7, 9, AND 11 are known in alternative versions. The final of movement of Op. 8, No. 11 presents a particularly complex web of revisions to the alternation of tutti and solo. <br />
<br />
====CCARH Parts for Op. 8====<br />
The following parts for Antonio Vivaldi's Op.8 concerti accompany the full score available from Dover Publications:<br />
<br />
* Vivaldi, Antonio. "The Four Seasons" and Other Violin Concertos in Full Score; Opus 8, Complete. Ed. by Eleanor Selfridge-Field. Mineola, New York: Dover Publications; 1995. ISBN 0-486-28638-X.<br />
<br />
<center><br />
{{VivaldiOp8PDFTable}}<br />
</center><br />
<br><br />
<br />
===Op. 9: <i>La cetra. Concerti</i>===<br />
Vivaldi's Concertos Op. 9, published in Amsterdam by Michel Charles Le Cène in Vols. 533 and 534 (datable from 1727), have the distinction of having been dedicated to the emperor Charles VI. The two met two years later in Trieste, where the emperor was more enraptured by Vivaldi's music and the intelligence with which he discussed it than with the diplomatic matters at hand. Op. 9 is easily confused with a contemporary set of twelve unpublished concertos for violin also called "La Cetra," that Vivaldi presented to the Emperor during his 1729 visit, as part of a diplomatic delegation, to Trieste. <br />
<br />
The works of Op. 9 were not so widely circulated as those of other recent volumes of Vivaldi's music, and a few were not new. (Three of the works were known in alternative versions.) The popularity of the "Four Seasons" concertos (Op. 8, Nos. 1-4) blinded the public to Vivaldi's future prints, while Vivaldi's own interest in publishing instrumental music was also in decline after the appearance of this collection. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 9, No. 1 || RV 181a || [VPr]; V1 V2 V3 Va Vc Org || C Major || RV 180 || Example<br />
|-<br />
| Op. 9, No. 2 || RV 375 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 3 || RV 334 || [VPr]; V1 V2 V3 Va Vc Org || G Minor || || Example<br />
|-<br />
| Op. 9, No. 4 || RV 263a || [VPr]; V1 V2 V3 Va Vc Org || E Major || RV 263 || Example<br />
|-<br />
| Op. 9, No. 5 || RV 358 || [VPr]; V1 V2 V3 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 9, No. 6 || RV 348 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 7 || RV 359 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 8 || RV 238 || [VPr]; V1 V2 V3 Va Vc Org || D Minor || || Example<br />
|-<br />
| Op. 9, No. 9 || RV 530 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 10 || RV 300 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 9, No. 11 || RV 198a || [VPr]; V1 V2 V3 Va Vc Org || C Minor || RV 198 || Example<br />
|-<br />
| Op. 9, No. 12 || RV 391 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|}<br />
<br />
The part for <i>Violino Principale</i> is lost, although a manuscript part-book for it survives for a few works.<br />
<br />
===Op. 10: <i>VI Concerti a flauto traverso</i>===<br />
Six Concertos for Flute and String Orchestra, Op. 10; Related Variants<br />
<br />
As published, Vivaldi's Opus 10 is a straightforward collection of concertos for flute and string orchestra. <br />
Most works which originally called for obbligato flutes seem to have originated during the early 1720s, perhaps reflecting opportunities that Vivaldi encountered in Rome, where he stayed intermittently between c. 1719 and 1724. Although the transverse flute was then little known in Italy, the availability of an excellent player is was essential for the execution of several of his works for it. <br />
<br />
Opus 10 appeared in 1729, in rough coincidence with Vivaldi's violin concertos Opp. 11 and 12, but most of the work are likely to have composed years earlier. All three volumes were published in Amsterdam. Although published set was designed for a market oriented towards a standardized, relatively neutral instrumentation, the origins of the individual works were heterogeneous. The indications suggested by the related concertos listed on the lower half of the chart do not include subtle differences of instrumental alternatives and/or pairings--for example, an independent oboe part vs. an oboe part duplicating a second violin, a separate cello part vs. an unspecified Basso, and so forth. These are among the kinds of details that have necessitated separate listings for works that are musically similar. One manuscript source for No. 3 is scored for recorder rather than violin. <br />
<br />
The transverse flute and the recorder were both associated with a certain freedom of timbral choice. The so-called chamber concertos (RV 570, 90, and 101) for flute (or recorder), oboe, bassoon, violin, and bass can be understood to signify this sense of free play, rather than to represent a sub-genre cast in concrete. Although Vivaldi's chamber concertos had few analogues during Vivaldi's lifetime, they paved the way to a rich chamber repertory in the later eighteenth century.<br />
<br />
<center><br />
{{VivaldiOpl0PDFTable}}<br />
</center><br />
<br />
The first three works are the best known ones of the collection, but their nicknames accrued over time. Their programmatic allusions are largely confirmed in associated manuscripts. Storms at sea and phantoms of the night (the images cultivated by the first two pieces) were staples of opera staging at Venice's Teatro Sant'Angelo, the Venetian theater with which Vivaldi and his father were most consistently associated. Both played a prominent role in Venetian scene paintings contemporary with Vivaldi. <br />
<br />
The representation of sleep in the fourth movement of Op 10, No. 2, is illustrative of a fascination with dreams and the supernatural that was probed cautiously on the stage because of the pervasive scrutiny of religious censors. However, the dramatization of darkness fed Sant'Angelo's penchant for grottoes and grotesque scenes. It is darkness that the bassoon invokes in the manuscript RV 501 (the loose analogue of No. 2), where the the key is Bb Major rather than G Minor.<br />
<br />
Vivaldi's depictions of bird-calls (in Op. 10, No. 3 a bullfinch) were prevalent not only in his concertos but also in his operas, and in dozens of works by other composers of the time. Also elsewhere they often suggested the formal gardens that were so much promoted by the aristocracy, in Vivaldi's case they are more often a natural depiction of bucolic habitats consistent with the imagery of Arcadian shepherds than of programmed landscapes abroad. <br />
<br />
The <i>sopranino</i> recorder concerto RV 444 is a unique work among Vivaldi's <i>oeuvre</i>, although it could easily have been adapted to a different soloist. It would have suited a virtuoso of considerable renown.<br />
<br />
The parts provided here correspond to the Dover Publication entitled <i>Six Concertos for Flute and String Orchestra, Op. 10, and Related Variants</i>.<br />
<br />
===Op. 11: <i>Sei concerti</i>===<br />
In Opp. 11 and 12 Vivaldi returned to the practice of publishing six works at a time. His earlier 12-work prints are usually presented as two books of six, but there were practical benefits to grouping the works into two sets. Opp. 11 and 12 appear to be cut from the same cloth and may have been intended as a single publication. They appeared with consecutive print numbers (Nos. 545, 546) from presses of Michel Charles Le Cène in 1729. In comparison to all of Vivaldi's music printed since 1711 they were poorly circulated.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Related works !! Score <br />
|-<br />
| Op. 11, No. 1 || RV 207 || Concerto / VPr; V1 V2 Va Vc Bc || D Major || || Example<br />
|-<br />
| Op. 11, No. 2 || RV 277 || Concerto / VPr; V1 V2 Va Vc Bc || E Minor || Nicknamed "Il Favorito" || Example<br />
|-<br />
| Op. 11, No. 3 || RV 336 || Concerto / VPr; V1 V2 Va Vc Bc || A Major || || Example <br />
|-<br />
| Op. 11, No. 4 || RV 308 || Concerto / VPr; V1 V2 Va Vc Bc || G Major || || Example <br />
|-<br />
| Op. 11, No. 5 || RV 202 || Concerto / VPr; V1 V2 Va Vc Bc || G Minor || || Example <br />
|-<br />
| Op. 11, No. 6 || RV 260 || Concerto / VPr; V1 V2 Va Vc Bc || C Minor || Op. 9, No. 3 (RV 334) || Example<br />
|}<br />
<br />
===Op. 12: <i>Sei concerti</i>===<br />
Vivaldi's six concertos Op. 12 (1729) represent the final printed publication of his music. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 12, No. 1 || RV 317 || Concerto / VPr V1 V2 Va Vc Bc || G Minor || Example<br />
|-<br />
| Op. 12, No. 2 || RV 244 || Concerto / VPr V1 V2 Va Vc Bc || D Minor || Example<br />
|-<br />
| Op. 12, No. 3 || RV 124 || Concerto / VPr V1 V2 Va Vc Bc || D Major || Example<br />
|-<br />
| Op. 12, No. 4 || RV 173 || Concerto / VPr V1 V2 Va Vc Bc || C Major || Example<br />
|-<br />
| Op. 12, No. 5 || RV 379 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 12, No. 6 || RV 361 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|}<br />
<br />
==Unpublished instrumental works==<br />
<br />
The number of Vivaldi's unpublished instrumental pieces greatly exceeds those that were printed in the composer's lifetime. They generally follow the same lines and populate the same genres of sonata and concerto. The two most conspicuous differences between the published and unpublished works are that dates of composition are more difficult to pin down for the manuscript works and nearly all of the works with obbligato wind parts were never published. <br />
<br />
Why were works with obbligato winds not published in Vivaldi's time? The demand for works with wind parts was much lower, while learning to play the violin was a popular activity among noblemen. Numerous accounts of special occasions note the addition of local amateur players to orchestras for serenatas and sinfonias. Learning to play a bowed instrument conferred a certain prestige on the fledgling performer. <br />
<br />
In Italy wind instruments, which were not readily available, were required in music for particular kinds of ceremonies or scenes in operas. Nasal reeds, such as the oboe, were used in funeral music or to signify impending doom. Recorders and cross-flutes were associated with peasants and with dancing. Bassoons could signify the underworld. Among brasses, trumpets had been used discreetly to represent military advances and triumphs since before Vivaldi was born, but their appearances were few. <br />
<br />
Vivaldi's interactions with musicians from north of the Alps provided him with incentives to score parts for oboes, bassoons, recorders, cross-flutes, and other novel instruments. He also adapted some of his concertos with a wind instrument instead of a principal violin. Op. 10 is the only print that shows off his wind interests here, but the menu of works related to that set of six (grouped here with Op. 10) shows the latitude (or lack thereof) in adaptations. <br />
<br />
Yet in Italy the idea of using these different timbres together with strings was one that remained somewhat foreign at the end of Vivaldi's life. In his operas, winds were usually deployed in pairs. Quite often their use was limited to opening performances, when entrance fees were higher. Because their players were paid one night at a time, the wind parts did not always survive. Modern editions represent optimal versions of the work at hand, but the fact that many wind parts have only one or two solo episodes in an entire work and otherwise double string parts allows for some latitude in interpretation and some accommodation of strained circumstances.<br />
<br />
=Oratorios=<br />
== [http://wiki.ccarh.org/wiki/Juditha_triumphans <i>Juditha triumphans</i>] ==<br />
<br />
Click title to see separate webpage.<br />
<br />
= References =</div>Edchttps://wiki.ccarh.org/index.php?title=MuseData:_Antonio_Vivaldi&diff=10478MuseData: Antonio Vivaldi2021-03-25T04:36:22Z<p>Edc: /* Op. 4: La Stravaganza: Concerti in six parts */</p>
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<div>__TOC__<br />
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<br />
==Published Sonatas and Concertos==<br />
Antonio Lucio Vivaldi (1678-1741) is best known to modern audiences for his instrumental music. Like most composers of his time, Vivaldi composed in the formal medium of the sonata in his earliest publications (from 1703). His reputation was propelled by his concertos, the earliest of which appeared in 1711. This is still the genre with which he is most widely associated. <br />
<br />
===Op. 1: <i>Suonate da camera a trè, due violini e violone o cembalo</i>===<br />
Vivaldi's twelve sonatas Op. 1 are presumed to have been published prior to his appointment as <i>maestro di violino</i> at the Ospedale della Pietà, Venice, because he is described without reference to the institution as "<i>musico di violino, professore veneto</i>" (a violinist and teacher in the Veneto). The works were dedicated to the count Annibale Gambara, one of five sons in a big family of noblemen from Brescia (the city in which Vivaldi's father was born), a provincial capital in the western Veneto. The Gambara also had a modest palace on the Grand Canal in the Venetian parish of San Barnabà. <br />
<br />
[[File:Op1-12_Folia_V1.png|400px|thumb|center|Excerpt from the Violino primo (first violin) part of the Folìa of Vivaldi's Sonata Op. 1, No. 12 (Venice: Giuseppe Sala, 1705). Image from the partbook in the Conservatorio Benedetto Marcello, Venice. Used by permission.]]<br />
<br />
These trio sonatas contained various numbers of movements (3 to 6), most in binary form. The four outer works (Nos. 1, 2, 11, and 12) were in minor keys, the others in major ones. The best known work is Op. 1, No. 12, which features an ambitious <i>folìa</i> movement at its conclusion. The earliest surviving print of Op. 1 was published in Venice (G. Sala) in 1705. The collection was reprinted in Amsterdam in 1723 (E. Roger, as print No. 363), in Paris in 1759 (Le Clerc), and in Austria in 1759. Many movements are brief and musically simple, so much so that were one to judge from this opus alone, one would not have anticipated the kind of success that Vivaldi later found.<br />
<br />
{{VivaldiOp1PDF}}<br />
<br />
===Op. 2: <i>Sonate a violino e basso per il cembalo</i>===<br />
[[File:Carlevaris_FredIV_viaGetty-Google.png|575px|thumb|left|Detail of Luca Carlevaris's depiction of the regatta held on the Grand Canal, Venice, for Frederick IV of Denmark (1709). Reproduction of public-domain image from the Getty Museum as shown in the Google Art project.]]<br />
<br />
The trio sonata, over which Vivaldi had exhibited his command in Op. 1, had been the most prevalent instrumental genre of the 1690s, but in the first decade of the eighteenth century interest began to gravitate towards the "solo" sonata--a work in several movements for one ensemble instrument and a basso continuo. In this 1709 collection by the Venetian publisher Antonio Bortoli, Vivaldi pursued a more expressive vein of musical enticement. The opus was dedicated to the visiting young monarch Frederick IV of Denmark. As prince of Schleswig-Holstein, his extended stay drew much artistic attention. No fewer than three operas were dedicated to him. <br />
<br />
Seven of these sonatas were cast in minor keys. The movement structure remained variable. Vivaldi was moving in the direction of fewer movements but with greater musical elaboration within each movement. He was still described as <i>musico di violino</i> but also as <i>maestro dei concerti</i> (concertmaster) of the Ospedale della Pietà. <br />
<br />
{{VivaldiOp2PDF}}<br />
<br />
Like Op. 1, Op. 2 had a long afterlife in both reprints and manuscript copies, mainly abroad. These included the publications of E. Roger (Amsterdam, 1712) and several editions (1721-1730) by I. Walsh J. Young (London).<br />
<br />
===Op. 3: <i>L'estro armonico: Concerti</i>=== <br />
[[File:Ferdinando_de'_Medici_c1687_Cassana.jpg|300px|thumb|right|Portrait of Ferdinando de' Medici, grand prince of Tuscany, in c. 1687 by the Venetian painter Niccolò Cassana. Wikimedia Commons.]]<br />
<br />
The first concertos by Vivaldi to reach print were those of Opus 3 (Amsterdam, 1711). With them Vivaldi suddenly became a celebrity, for although he was well known as a virtuoso, his previously published works had found a relatively modest reception. Vivaldi's titles remained as they were in Op. 2. Most composers described the contents of a publication in sufficient detail to indicate instrumentation, but Vivaldi settled for the word "Concerti" in order to allow space for the titles of his patron, the Grand Prince of Tuscany, [http://it.wikipedia.org/wiki/Ferdinando_de%27_Medici#Teatro Ferdinando III (1663-1713)]. The Grand Prince, who led a flamboyant life, enjoyed his visits to Venice, where however he contracted syphilis in 1696. This led to his premature death and changed the course of Tuscan (and imperial) history. Meanwhile, however, his patronage of music benefited many composers of the time including [http://en.wikipedia.org/wiki/Tomaso_Albinoni Tomaso Albinoni (1671-1751)], [http://en.wikipedia.org/wiki/Handel George Frederick Handel (1685-1759)], and [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Alessandro Scarlatti (1660-1725)]. His Bavarian wife, [http://it.wikipedia.org/wiki/Violante_Beatrice_di_Baviera Violante Beatrice (1673-1731)], was in many ways a still more significant supporter of individual singers and instrumentalists. <br />
<br />
Having now completed eight years' of teaching at the [[Ospedale of the Pietà]] in Venice, Vivaldi shows himself to have experimented with a variety of approaches to textures and groupings of instruments. These twelve works are arranged cyclically, such that Nos. 1, 4, 7, and 10 are scored for four violins and string orchestra; Nos. 2, 5, 8, and 11 for two violins, violoncello, and string orchestra; and Nos. 3, 6, 9, and 12 for solo violin (Violino Principale) and string orchestra. Within the <i>concertino</i> groups (four violins or, alternatively, two violins and violoncello), there is further separation. The "four violins" model often involves the pairing of the instruments such that one duo imitates another. This kind of experimentation is suggested by the word <i>estro</i>, which refers to gestational properties whereby one musical passage generates the need for the next. In musical terms, the sophistication of the idea represented an enormous step forward for Vivaldi, whose first sonatas were primitive and somewhat generic by comparison. <br />
<br />
Additionally, the music was more cogent than before, the organization manifestly rational. The imaginative scoring, careful markup, and newly pungent musical affects were novelties not found in Opp. 1 or 2. If he had leaned on the familiar models of [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Arcangelo Corelli (1753-1713)] before, Vivaldi was now producing music that was novel, ambitious, and aesthetically pleasing. Largely in coincidence with this publication, Vivaldi's concerts at the Pietà began to win plaudits from a succession of visiting dignitaries from abroad. <br />
<br />
Within the context of the early concerto, Op. 3 was equally noteworthy. The now elderly Corelli had perfected the <i>concerto grosso</i> [his [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli#The_Concerti_grossi_Op._6 Op. 6] would be published only posthumously in 1714]. Vivaldi's concertos for two and four violins had some debts to these works, but his concertos for solo violin and orchestra did not have Corellian models to follow. The trumpet concertos by [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Giuseppe Torelli (1658-1709)] are an oft mentioned alternative model, but Vivaldi's skills at articulation and exhibitionism were unrivaled. The violin was capable of much greater subtlety than the trumpet. <br />
<br />
====Dissemination of Individual Works from Op. 3====<br />
The <i>Concerti</i> Op. 3 were so popular that the entire opus was reprinted in Amsterdam within a year. Other reprints followed in both London and Paris through 1751. Because of the cyclical rotation of different combinations of instruments from work to work individual pieces in Op. 3 led themselves to diverse uses. The basic organization is shown in the table. Parsed one way, it is a four-fold cycle of three works. The textures vary with the instrumentation.<br />
<br />
Several works from Opus 3 took on lives of their own. Six works (indicated by an asterisk*) were transcribed by J. S. Bach, and there are faint clues that Bach may have transcribed them all. Bach was highly sensitive to the cyclical instrumentation of Vivaldi's collection: Nos 1, 4, 7, and 10 were set for two pairs of solo violins; Nos. 2, 5, 8, and 11 for a trio of soloists (two violins and violoncello); Nos. 3, 6, 9, and 12 for principal violin, in all cases with string orchestra. As the table below shows, Bach chose the second type an organ adaptation and the third type for concertos for harpsichord and strings, while the first type served as a model for his lone concerto for four harpsichords and strings. The trio sonata, which was at its peak in the years 1700-1710, was a popular reservoir for organ transcriptions in Germany, but the other adaptations had no such currency. Concertos for four harpsichords were unknown. <br />
<br />
Wide circulation of Vivaldi's concertos was further stimulated by John Walsh's edition of Op. 3 in <i>c.</i> 1715. In this print, the order of Nos. 6-9 was altered so that these concertos became Nos. 8, 9, 6, and 7). The clavichord transcriptions of Anne Dawson include many works in Vivaldi's Opp. 3 and 4 show a further dimension of the music's adaptation. Numerous transcriptions and copies survive in Europe and North America.<br />
<br />
====CCARH Scores and Parts for Opus 3====<br />
[[File:Op3DoverCover.jpg|100px||left]]<br />
<br />
CCARH cooperated with Dover Publications Inc. in producing the scores that appear in <i>L'estro armonico: Twelve Concertos for Violins and String Orchestra, Op. 3</i>. The cover is shown below. The collection entitled <i>L'estro armonico</i> was the first title under Vivaldi's name to draw widespread attention. It is likely that some of the work had already been performed in selected gatherings. The were profusely copied, arranged, and reprinted (with numerous variants) over the next few decades. <br />
<br />
For bound paper copies, see Vivaldi, Antonio. <i>"L'Estro armonico", Op. 3 in Full Score: 12 Concertos for Violins and String Orchestra</i>, ed. Eleanor Selfridge-Field (Mineola, New York: Dover Publications; 1999). Available from Amazon [http://www.amazon.com/exec/obidos/tg/detail/-/0486406318/themefinder/002-2800507-6138416 ISBN 0-486-40631-8] and Dover [http://store.doverpublications.com/review.html?pr_page_id=0486406318 ISBN 0-486-40631-8].<br />
</ul><br />
<br />
{{VivaldiOp3PDF}}<br />
<br><br />
<br />
===Op. 4: <i>La Stravaganza: Concerti in six parts</i>===<br />
Vivaldi's violin concertos Op. 4 (announced in London on January 1, 1715) achieved a much broader penetration of the European market than any previous publication of his music. The collection, published in Amsterdam as Estienne Roger's prints Nos. 399 and 400, bore the title <i>La Stravaganza</i> (The Extravaganza), a designation popular at the time. In musical contexts it usually referred to chromatic harmonies, but in Vivaldi's case it forewarned prospective players of the challenges posed, epsecially for the principal violinist. (Up to this time, Roger had principally offered trio sonatas and concerti grossi, which were less demanding.) <br />
<br />
Op. 4 was a compendium of virtuoso techniques that were popularized by Vivaldi, who, as a performer, was known far and wide for his daring. His near-peers in this regard were violinist-composers such as Tomaso Albinoni and Lodovico Madonis, but their most demanding works appeared some years later and were less widely distributed. Op. 4 was dedicated to a Venetian nobleman, Vettor Delfin, whose family were largely engaged in military affairs. With only one exception (Op. 4, No. 7), the concertos were written in three movements. <br />
<br />
At the time Op. 4 appeared, Vivaldi had been filling holes left by the departure of [http://it.wikipedia.org/wiki/Francesco_Gasparini Francesco Gasparini (1661-1727)] at the Pietà. He was now turning his attention to motets and oratorios <i>per force</i> to bridge the gap left by Gasparini. It is therefore likely that most of these pieces were composed before the elder <i>maestro</i>'s departure. Reprints of Op. 4 appeared in 1723, 1728, and 1730, but selected individual works enjoyed independent circulation. Vivaldi had now reached the point where demand for his instrumental music exceeded the amount of time he could afford to devote to it. It may be for this reason that echoes of Op. 4 appear in a few later works by Vivaldi. Op. 7, No. 1, for example, was a first cousin of Op. 4, No. 9; myriad other variants of this set were quoted in later works. The cumulative effect was a splintering of work-identities that still confuse musicians today. Vivaldi himself adapted many of his works to suit new purposes as appropriate occasions arose. <br />
<br />
{{VivaldiOp4PDF}}<br />
<br />
===Op. 5: <i>VI Sonate/quatro à violino solo e basso e due a due violini e basso continuo</i>===<br />
Four of the six sonatas of Op. 5, published in Amsterdam (1716) as Estienne Roger's print No. 418, may have been remainders of Vivaldi's Op. 2, an opus consisting of a dozen solo violin sonatas. In Op. 5 we find four solo sonatas and two trio sonatas. During the visit of the young Danish king Frederick Christian IV to Venice in the winter of 1709, a great many banquets and balls were planned. Easily half of them were canceled either by hosts or guests because many people (including the doge and one of the Republic's official hosts) died. No autograph material for this opus survives. Op. 2 had been dedicated to Frederick Christian, but Op. 5 was an orphan of sorts. It contained a mixed repertory, lacked a dedicatee, and found insufficient popularity to prompt reprints. Few works were copied in manuscript. An exception was the first movement of Op. 5, No. 6, which was included in J. B. Cartier's <i>L'Art du Violon</i> (Paris, 1798). <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 5, No. 1 || RV 18 || Sonata / V, Bc || F Major || Example<br />
|-<br />
| Op. 5, No. 2 || RV 30 || Sonata / V, Bc || A Major || Example<br />
|-<br />
| Op. 5, No. 3 || RV 33 || Sonata / V, Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 4 || RV 35 || Sonata / V, Bc || B Minor || Example<br />
|-<br />
| Op. 5, No. 5 || RV 76 || Sonata / V1, V2, Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 6 || RV 72 || Sonata / V1, V2, Bc || G Minor || Example<br />
|}<br />
<br />
===Op. 6: <i>VI Concerti à cinque strumenti: 3 violini, alto viola, e basso continuo</i>===<br />
The six concertos for violin and strings of Op. 6, published in Amsterdam in 1716-1717 by Jeanne Roger (as her firm's print No. 452) represent both a continuation and a departure. The instrumental requirements are identical to those of Op. 4: they require a principal violin and a small string orchestra. This short collection could have served as a supplement to Op. 4, given the pattern set by Opp. 2 and 5 (another short set). The absence of a dedicatee and sundry details of the music suggest that Vivaldi did not actively seek this publication and that the print was therefore unauthorized. Mme. Roger heralded Vivaldi's titles as <i>maestro di violino</i> and <i>maestro di concerti</i> at the Pietà. <br />
<br />
Musically, five of the six works are in minor keys. Again forming a parallel with Op. 5, it was not followed by myriad other editions, although Le Cène brought out one (undated) reprint.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 6, No. 1 || RV 324 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 2 || RV 259 || Converto / VPr; V1 V2 Va Vc Org || C Minor || Example<br />
|-<br />
| Op. 6, No. 3 || RV 318 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 4 || RV 216 || Concerto / VPr; V1 V2 Va Vc Org || D Major || Example<br />
|-<br />
| Op. 6, No. 5 || RV 280 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || Example<br />
|-<br />
| Op. 6, No. 6 || RV 239 || Concerto / VPr; V1 V2 Va Vc Org || D Minor || Example<br />
|}<br />
<br />
===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===<br />
<br />
Vivsaldi's 12 concertos <i>a 5</i> (meaning three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for the solo episodes of the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained three movements. One can see that Vivaldi's idea of concerto had evolved considerably over a decade. The oboe arrangements of Nos. 1 and No. 7, as well as No. 9 (reset for oboe in a later opus) are now considered spurious. <br />
<br />
As scores passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his concertos began to take on a life of their own. No. 1 was revised by Johann Pisendel (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden Hofkapelle. <br />
No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro." No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in Walsh & Hare's anthology <i>Select Harmony</i> (1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work incudes a written cadenza. It was also transcribed by J. S. Bach for organ as BWV 594. Parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 7, No. 1 || RV 465 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 143 || Example<br />
|-<br />
| Op. 7, No. 2 || RV 188 || Concerto / VPr; V1 V2 Va Vc Org || C Major || || Example<br />
|-<br />
| Op. 7, No. 3 || RV 326 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || RV 370 || Example<br />
|-<br />
| Op. 7, No. 4 || RV 354 || Concerto / VPr; V1 V2 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 7, No. 5 || RV 285a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 285 || Example<br />
|-<br />
| Op. 7, No. 6 || RV 374 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 7, No. 7 || RV 464 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 142 || Example<br />
|-<br />
| Op. 7, No. 8 || RV 299 || Concerto / VPr; V1 V2 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 7, No. 9 || RV 373 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 153 || Example<br />
|-<br />
| Op. 7, No. 10 || RV 294a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 294 || Example<br />
|-<br />
| Op. 7, No. 11 || RV 208a || Concerto / VPr; V1 V2 Va Vc Org || D Major || BWV 594 (organ) || Example<br />
|-<br />
| Op. 7, No. 12 || RV 214 || Concerto / VPr; V1 V2 Va Vc Org || D Major || || Example<br />
|}<br />
<br />
===Op. 8: <i>Il cimento dell'armonia e dell'invenzione: Concerti a quattro e cinque</i>===<br />
Vivaldi's most famous opus was published in Amsterdam by Michel Charles Le Cène in 1725. It is clear, though, that various portions of sundry works had been written earlier. What was perhaps new was the formalization of the scheme, complete with the texts of the sonnets with which they were coordinated, of the first four concertos--The Four Seasons. These works, and their cyclical organization, captured the imagination of many and led to a "Four Seasons" industry of arrangements performances that extends to the current day. <br />
<br />
Unlike other opuses that postdated Vivaldi's move to Mantua, this one resumed the practice of dedicating the collection to a nobleman, in this case Venceslas, count of Morzin (also Morcin, spelled Marzin in the print itself). (Two concertos known only in manuscript, RV 449 and 496, were also dedicated to the count. <br />
He was Bohemian with townhouses in Prague and Vienna. He was an occasional patron of Venetian opera. Prague, the capital of Bohemia, was a thriving city was rapidly developing enterprises focused on opera and on the development of string music. One can see how poetic justice prevailed in this dedication: Bohemians not only loved music but were happy to master its component parts. <br />
<br />
This opus was more popular in France than anywhere else. Parisian reprints issued from the presses of Madame Boivin (c. 1739, 1743, 1748). Manuscripts were widely circulated. Rearrangements of portions of the opus were opus also proliferated. In Dresden, the orchestration of some works was enriched by Johann Pisendel, who also elaborated some of the articulation. <br />
<br />
In the works as a set, major keys predominate. Nos. 7, 9, AND 11 are known in alternative versions. The final of movement of Op. 8, No. 11 presents a particularly complex web of revisions to the alternation of tutti and solo. <br />
<br />
====CCARH Parts for Op. 8====<br />
The following parts for Antonio Vivaldi's Op.8 concerti accompany the full score available from Dover Publications:<br />
<br />
* Vivaldi, Antonio. "The Four Seasons" and Other Violin Concertos in Full Score; Opus 8, Complete. Ed. by Eleanor Selfridge-Field. Mineola, New York: Dover Publications; 1995. ISBN 0-486-28638-X.<br />
<br />
<center><br />
{{VivaldiOp8PDFTable}}<br />
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<br />
===Op. 9: <i>La cetra. Concerti</i>===<br />
Vivaldi's Concertos Op. 9, published in Amsterdam by Michel Charles Le Cène in Vols. 533 and 534 (datable from 1727), have the distinction of having been dedicated to the emperor Charles VI. The two met two years later in Trieste, where the emperor was more enraptured by Vivaldi's music and the intelligence with which he discussed it than with the diplomatic matters at hand. Op. 9 is easily confused with a contemporary set of twelve unpublished concertos for violin also called "La Cetra," that Vivaldi presented to the Emperor during his 1729 visit, as part of a diplomatic delegation, to Trieste. <br />
<br />
The works of Op. 9 were not so widely circulated as those of other recent volumes of Vivaldi's music, and a few were not new. (Three of the works were known in alternative versions.) The popularity of the "Four Seasons" concertos (Op. 8, Nos. 1-4) blinded the public to Vivaldi's future prints, while Vivaldi's own interest in publishing instrumental music was also in decline after the appearance of this collection. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 9, No. 1 || RV 181a || [VPr]; V1 V2 V3 Va Vc Org || C Major || RV 180 || Example<br />
|-<br />
| Op. 9, No. 2 || RV 375 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 3 || RV 334 || [VPr]; V1 V2 V3 Va Vc Org || G Minor || || Example<br />
|-<br />
| Op. 9, No. 4 || RV 263a || [VPr]; V1 V2 V3 Va Vc Org || E Major || RV 263 || Example<br />
|-<br />
| Op. 9, No. 5 || RV 358 || [VPr]; V1 V2 V3 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 9, No. 6 || RV 348 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 7 || RV 359 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 8 || RV 238 || [VPr]; V1 V2 V3 Va Vc Org || D Minor || || Example<br />
|-<br />
| Op. 9, No. 9 || RV 530 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 10 || RV 300 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 9, No. 11 || RV 198a || [VPr]; V1 V2 V3 Va Vc Org || C Minor || RV 198 || Example<br />
|-<br />
| Op. 9, No. 12 || RV 391 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|}<br />
<br />
The part for <i>Violino Principale</i> is lost, although a manuscript part-book for it survives for a few works.<br />
<br />
===Op. 10: <i>VI Concerti a flauto traverso</i>===<br />
Six Concertos for Flute and String Orchestra, Op. 10; Related Variants<br />
<br />
As published, Vivaldi's Opus 10 is a straightforward collection of concertos for flute and string orchestra. <br />
Most works which originally called for obbligato flutes seem to have originated during the early 1720s, perhaps reflecting opportunities that Vivaldi encountered in Rome, where he stayed intermittently between c. 1719 and 1724. Although the transverse flute was then little known in Italy, the availability of an excellent player is was essential for the execution of several of his works for it. <br />
<br />
Opus 10 appeared in 1729, in rough coincidence with Vivaldi's violin concertos Opp. 11 and 12, but most of the work are likely to have composed years earlier. All three volumes were published in Amsterdam. Although published set was designed for a market oriented towards a standardized, relatively neutral instrumentation, the origins of the individual works were heterogeneous. The indications suggested by the related concertos listed on the lower half of the chart do not include subtle differences of instrumental alternatives and/or pairings--for example, an independent oboe part vs. an oboe part duplicating a second violin, a separate cello part vs. an unspecified Basso, and so forth. These are among the kinds of details that have necessitated separate listings for works that are musically similar. One manuscript source for No. 3 is scored for recorder rather than violin. <br />
<br />
The transverse flute and the recorder were both associated with a certain freedom of timbral choice. The so-called chamber concertos (RV 570, 90, and 101) for flute (or recorder), oboe, bassoon, violin, and bass can be understood to signify this sense of free play, rather than to represent a sub-genre cast in concrete. Although Vivaldi's chamber concertos had few analogues during Vivaldi's lifetime, they paved the way to a rich chamber repertory in the later eighteenth century.<br />
<br />
<center><br />
{{VivaldiOpl0PDFTable}}<br />
</center><br />
<br />
The first three works are the best known ones of the collection, but their nicknames accrued over time. Their programmatic allusions are largely confirmed in associated manuscripts. Storms at sea and phantoms of the night (the images cultivated by the first two pieces) were staples of opera staging at Venice's Teatro Sant'Angelo, the Venetian theater with which Vivaldi and his father were most consistently associated. Both played a prominent role in Venetian scene paintings contemporary with Vivaldi. <br />
<br />
The representation of sleep in the fourth movement of Op 10, No. 2, is illustrative of a fascination with dreams and the supernatural that was probed cautiously on the stage because of the pervasive scrutiny of religious censors. However, the dramatization of darkness fed Sant'Angelo's penchant for grottoes and grotesque scenes. It is darkness that the bassoon invokes in the manuscript RV 501 (the loose analogue of No. 2), where the the key is Bb Major rather than G Minor.<br />
<br />
Vivaldi's depictions of bird-calls (in Op. 10, No. 3 a bullfinch) were prevalent not only in his concertos but also in his operas, and in dozens of works by other composers of the time. Also elsewhere they often suggested the formal gardens that were so much promoted by the aristocracy, in Vivaldi's case they are more often a natural depiction of bucolic habitats consistent with the imagery of Arcadian shepherds than of programmed landscapes abroad. <br />
<br />
The <i>sopranino</i> recorder concerto RV 444 is a unique work among Vivaldi's <i>oeuvre</i>, although it could easily have been adapted to a different soloist. It would have suited a virtuoso of considerable renown.<br />
<br />
The parts provided here correspond to the Dover Publication entitled <i>Six Concertos for Flute and String Orchestra, Op. 10, and Related Variants</i>.<br />
<br />
===Op. 11: <i>Sei concerti</i>===<br />
In Opp. 11 and 12 Vivaldi returned to the practice of publishing six works at a time. His earlier 12-work prints are usually presented as two books of six, but there were practical benefits to grouping the works into two sets. Opp. 11 and 12 appear to be cut from the same cloth and may have been intended as a single publication. They appeared with consecutive print numbers (Nos. 545, 546) from presses of Michel Charles Le Cène in 1729. In comparison to all of Vivaldi's music printed since 1711 they were poorly circulated.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Related works !! Score <br />
|-<br />
| Op. 11, No. 1 || RV 207 || Concerto / VPr; V1 V2 Va Vc Bc || D Major || || Example<br />
|-<br />
| Op. 11, No. 2 || RV 277 || Concerto / VPr; V1 V2 Va Vc Bc || E Minor || Nicknamed "Il Favorito" || Example<br />
|-<br />
| Op. 11, No. 3 || RV 336 || Concerto / VPr; V1 V2 Va Vc Bc || A Major || || Example <br />
|-<br />
| Op. 11, No. 4 || RV 308 || Concerto / VPr; V1 V2 Va Vc Bc || G Major || || Example <br />
|-<br />
| Op. 11, No. 5 || RV 202 || Concerto / VPr; V1 V2 Va Vc Bc || G Minor || || Example <br />
|-<br />
| Op. 11, No. 6 || RV 260 || Concerto / VPr; V1 V2 Va Vc Bc || C Minor || Op. 9, No. 3 (RV 334) || Example<br />
|}<br />
<br />
===Op. 12: <i>Sei concerti</i>===<br />
Vivaldi's six concertos Op. 12 (1729) represent the final printed publication of his music. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 12, No. 1 || RV 317 || Concerto / VPr V1 V2 Va Vc Bc || G Minor || Example<br />
|-<br />
| Op. 12, No. 2 || RV 244 || Concerto / VPr V1 V2 Va Vc Bc || D Minor || Example<br />
|-<br />
| Op. 12, No. 3 || RV 124 || Concerto / VPr V1 V2 Va Vc Bc || D Major || Example<br />
|-<br />
| Op. 12, No. 4 || RV 173 || Concerto / VPr V1 V2 Va Vc Bc || C Major || Example<br />
|-<br />
| Op. 12, No. 5 || RV 379 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 12, No. 6 || RV 361 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|}<br />
<br />
==Unpublished instrumental works==<br />
<br />
The number of Vivaldi's unpublished instrumental pieces greatly exceeds those that were printed in the composer's lifetime. They generally follow the same lines and populate the same genres of sonata and concerto. The two most conspicuous differences between the published and unpublished works are that dates of composition are more difficult to pin down for the manuscript works and nearly all of the works with obbligato wind parts were never published. <br />
<br />
Why were works with obbligato winds not published in Vivaldi's time? The demand for works with wind parts was much lower, while learning to play the violin was a popular activity among noblemen. Numerous accounts of special occasions note the addition of local amateur players to orchestras for serenatas and sinfonias. Learning to play a bowed instrument conferred a certain prestige on the fledgling performer. <br />
<br />
In Italy wind instruments, which were not readily available, were required in music for particular kinds of ceremonies or scenes in operas. Nasal reeds, such as the oboe, were used in funeral music or to signify impending doom. Recorders and cross-flutes were associated with peasants and with dancing. Bassoons could signify the underworld. Among brasses, trumpets had been used discreetly to represent military advances and triumphs since before Vivaldi was born, but their appearances were few. <br />
<br />
Vivaldi's interactions with musicians from north of the Alps provided him with incentives to score parts for oboes, bassoons, recorders, cross-flutes, and other novel instruments. He also adapted some of his concertos with a wind instrument instead of a principal violin. Op. 10 is the only print that shows off his wind interests here, but the menu of works related to that set of six (grouped here with Op. 10) shows the latitude (or lack thereof) in adaptations. <br />
<br />
Yet in Italy the idea of using these different timbres together with strings was one that remained somewhat foreign at the end of Vivaldi's life. In his operas, winds were usually deployed in pairs. Quite often their use was limited to opening performances, when entrance fees were higher. Because their players were paid one night at a time, the wind parts did not always survive. Modern editions represent optimal versions of the work at hand, but the fact that many wind parts have only one or two solo episodes in an entire work and otherwise double string parts allows for some latitude in interpretation and some accommodation of strained circumstances.<br />
<br />
=Oratorios=<br />
== [http://wiki.ccarh.org/wiki/Juditha_triumphans <i>Juditha triumphans</i>] ==<br />
<br />
Click title to see separate webpage.<br />
<br />
= References =</div>Edchttps://wiki.ccarh.org/index.php?title=MuseData:_Antonio_Vivaldi&diff=10475MuseData: Antonio Vivaldi2021-03-24T15:12:56Z<p>Edc: /* Op. 7: Concerti a 5 strumenti: Tre violini, alto viola e basso continuo */</p>
<hr />
<div>__TOC__<br />
<br />
<br />
==Published Sonatas and Concertos==<br />
Antonio Lucio Vivaldi (1678-1741) is best known to modern audiences for his instrumental music. Like most composers of his time, Vivaldi composed in the formal medium of the sonata in his earliest publications (from 1703). His reputation was propelled by his concertos, the earliest of which appeared in 1711. This is still the genre with which he is most widely associated. <br />
<br />
===Op. 1: <i>Suonate da camera a trè, due violini e violone o cembalo</i>===<br />
Vivaldi's twelve sonatas Op. 1 are presumed to have been published prior to his appointment as <i>maestro di violino</i> at the Ospedale della Pietà, Venice, because he is described without reference to the institution as "<i>musico di violino, professore veneto</i>" (a violinist and teacher in the Veneto). The works were dedicated to the count Annibale Gambara, one of five sons in a big family of noblemen from Brescia (the city in which Vivaldi's father was born), a provincial capital in the western Veneto. The Gambara also had a modest palace on the Grand Canal in the Venetian parish of San Barnabà. <br />
<br />
[[File:Op1-12_Folia_V1.png|400px|thumb|center|Excerpt from the Violino primo (first violin) part of the Folìa of Vivaldi's Sonata Op. 1, No. 12 (Venice: Giuseppe Sala, 1705). Image from the partbook in the Conservatorio Benedetto Marcello, Venice. Used by permission.]]<br />
<br />
These trio sonatas contained various numbers of movements (3 to 6), most in binary form. The four outer works (Nos. 1, 2, 11, and 12) were in minor keys, the others in major ones. The best known work is Op. 1, No. 12, which features an ambitious <i>folìa</i> movement at its conclusion. The earliest surviving print of Op. 1 was published in Venice (G. Sala) in 1705. The collection was reprinted in Amsterdam in 1723 (E. Roger, as print No. 363), in Paris in 1759 (Le Clerc), and in Austria in 1759. Many movements are brief and musically simple, so much so that were one to judge from this opus alone, one would not have anticipated the kind of success that Vivaldi later found.<br />
<br />
{{VivaldiOp1PDF}}<br />
<br />
===Op. 2: <i>Sonate a violino e basso per il cembalo</i>===<br />
[[File:Carlevaris_FredIV_viaGetty-Google.png|575px|thumb|left|Detail of Luca Carlevaris's depiction of the regatta held on the Grand Canal, Venice, for Frederick IV of Denmark (1709). Reproduction of public-domain image from the Getty Museum as shown in the Google Art project.]]<br />
<br />
The trio sonata, over which Vivaldi had exhibited his command in Op. 1, had been the most prevalent instrumental genre of the 1690s, but in the first decade of the eighteenth century interest began to gravitate towards the "solo" sonata--a work in several movements for one ensemble instrument and a basso continuo. In this 1709 collection by the Venetian publisher Antonio Bortoli, Vivaldi pursued a more expressive vein of musical enticement. The opus was dedicated to the visiting young monarch Frederick IV of Denmark. As prince of Schleswig-Holstein, his extended stay drew much artistic attention. No fewer than three operas were dedicated to him. <br />
<br />
Seven of these sonatas were cast in minor keys. The movement structure remained variable. Vivaldi was moving in the direction of fewer movements but with greater musical elaboration within each movement. He was still described as <i>musico di violino</i> but also as <i>maestro dei concerti</i> (concertmaster) of the Ospedale della Pietà. <br />
<br />
{{VivaldiOp2PDF}}<br />
<br />
Like Op. 1, Op. 2 had a long afterlife in both reprints and manuscript copies, mainly abroad. These included the publications of E. Roger (Amsterdam, 1712) and several editions (1721-1730) by I. Walsh J. Young (London).<br />
<br />
===Op. 3: <i>L'estro armonico: Concerti</i>=== <br />
[[File:Ferdinando_de'_Medici_c1687_Cassana.jpg|300px|thumb|right|Portrait of Ferdinando de' Medici, grand prince of Tuscany, in c. 1687 by the Venetian painter Niccolò Cassana. Wikimedia Commons.]]<br />
<br />
The first concertos by Vivaldi to reach print were those of Opus 3 (Amsterdam, 1711). With them Vivaldi suddenly became a celebrity, for although he was well known as a virtuoso, his previously published works had found a relatively modest reception. Vivaldi's titles remained as they were in Op. 2. Most composers described the contents of a publication in sufficient detail to indicate instrumentation, but Vivaldi settled for the word "Concerti" in order to allow space for the titles of his patron, the Grand Prince of Tuscany, [http://it.wikipedia.org/wiki/Ferdinando_de%27_Medici#Teatro Ferdinando III (1663-1713)]. The Grand Prince, who led a flamboyant life, enjoyed his visits to Venice, where however he contracted syphilis in 1696. This led to his premature death and changed the course of Tuscan (and imperial) history. Meanwhile, however, his patronage of music benefited many composers of the time including [http://en.wikipedia.org/wiki/Tomaso_Albinoni Tomaso Albinoni (1671-1751)], [http://en.wikipedia.org/wiki/Handel George Frederick Handel (1685-1759)], and [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Alessandro Scarlatti (1660-1725)]. His Bavarian wife, [http://it.wikipedia.org/wiki/Violante_Beatrice_di_Baviera Violante Beatrice (1673-1731)], was in many ways a still more significant supporter of individual singers and instrumentalists. <br />
<br />
Having now completed eight years' of teaching at the [[Ospedale of the Pietà]] in Venice, Vivaldi shows himself to have experimented with a variety of approaches to textures and groupings of instruments. These twelve works are arranged cyclically, such that Nos. 1, 4, 7, and 10 are scored for four violins and string orchestra; Nos. 2, 5, 8, and 11 for two violins, violoncello, and string orchestra; and Nos. 3, 6, 9, and 12 for solo violin (Violino Principale) and string orchestra. Within the <i>concertino</i> groups (four violins or, alternatively, two violins and violoncello), there is further separation. The "four violins" model often involves the pairing of the instruments such that one duo imitates another. This kind of experimentation is suggested by the word <i>estro</i>, which refers to gestational properties whereby one musical passage generates the need for the next. In musical terms, the sophistication of the idea represented an enormous step forward for Vivaldi, whose first sonatas were primitive and somewhat generic by comparison. <br />
<br />
Additionally, the music was more cogent than before, the organization manifestly rational. The imaginative scoring, careful markup, and newly pungent musical affects were novelties not found in Opp. 1 or 2. If he had leaned on the familiar models of [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Arcangelo Corelli (1753-1713)] before, Vivaldi was now producing music that was novel, ambitious, and aesthetically pleasing. Largely in coincidence with this publication, Vivaldi's concerts at the Pietà began to win plaudits from a succession of visiting dignitaries from abroad. <br />
<br />
Within the context of the early concerto, Op. 3 was equally noteworthy. The now elderly Corelli had perfected the <i>concerto grosso</i> [his [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli#The_Concerti_grossi_Op._6 Op. 6] would be published only posthumously in 1714]. Vivaldi's concertos for two and four violins had some debts to these works, but his concertos for solo violin and orchestra did not have Corellian models to follow. The trumpet concertos by [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Giuseppe Torelli (1658-1709)] are an oft mentioned alternative model, but Vivaldi's skills at articulation and exhibitionism were unrivaled. The violin was capable of much greater subtlety than the trumpet. <br />
<br />
====Dissemination of Individual Works from Op. 3====<br />
The <i>Concerti</i> Op. 3 were so popular that the entire opus was reprinted in Amsterdam within a year. Other reprints followed in both London and Paris through 1751. Because of the cyclical rotation of different combinations of instruments from work to work individual pieces in Op. 3 led themselves to diverse uses. The basic organization is shown in the table. Parsed one way, it is a four-fold cycle of three works. The textures vary with the instrumentation.<br />
<br />
Several works from Opus 3 took on lives of their own. Six works (indicated by an asterisk*) were transcribed by J. S. Bach, and there are faint clues that Bach may have transcribed them all. Bach was highly sensitive to the cyclical instrumentation of Vivaldi's collection: Nos 1, 4, 7, and 10 were set for two pairs of solo violins; Nos. 2, 5, 8, and 11 for a trio of soloists (two violins and violoncello); Nos. 3, 6, 9, and 12 for principal violin, in all cases with string orchestra. As the table below shows, Bach chose the second type an organ adaptation and the third type for concertos for harpsichord and strings, while the first type served as a model for his lone concerto for four harpsichords and strings. The trio sonata, which was at its peak in the years 1700-1710, was a popular reservoir for organ transcriptions in Germany, but the other adaptations had no such currency. Concertos for four harpsichords were unknown. <br />
<br />
Wide circulation of Vivaldi's concertos was further stimulated by John Walsh's edition of Op. 3 in <i>c.</i> 1715. In this print, the order of Nos. 6-9 was altered so that these concertos became Nos. 8, 9, 6, and 7). The clavichord transcriptions of Anne Dawson include many works in Vivaldi's Opp. 3 and 4 show a further dimension of the music's adaptation. Numerous transcriptions and copies survive in Europe and North America.<br />
<br />
====CCARH Scores and Parts for Opus 3====<br />
[[File:Op3DoverCover.jpg|100px||left]]<br />
<br />
CCARH cooperated with Dover Publications Inc. in producing the scores that appear in <i>L'estro armonico: Twelve Concertos for Violins and String Orchestra, Op. 3</i>. The cover is shown below. The collection entitled <i>L'estro armonico</i> was the first title under Vivaldi's name to draw widespread attention. It is likely that some of the work had already been performed in selected gatherings. The were profusely copied, arranged, and reprinted (with numerous variants) over the next few decades. <br />
<br />
For bound paper copies, see Vivaldi, Antonio. <i>"L'Estro armonico", Op. 3 in Full Score: 12 Concertos for Violins and String Orchestra</i>, ed. Eleanor Selfridge-Field (Mineola, New York: Dover Publications; 1999). Available from Amazon [http://www.amazon.com/exec/obidos/tg/detail/-/0486406318/themefinder/002-2800507-6138416 ISBN 0-486-40631-8] and Dover [http://store.doverpublications.com/review.html?pr_page_id=0486406318 ISBN 0-486-40631-8].<br />
</ul><br />
<br />
{{VivaldiOp3PDF}}<br />
<br><br />
<br />
===Op. 4: <i>La Stravaganza: Concerti in six parts</i>===<br />
Vivaldi's violin concertos Op. 4 (announced in London on January 1, 1715) achieved a much broader penetration of the European market than any previous publication of his music. The collection, published in Amsterdam as Estienne Roger's prints Nos. 399 and 400, bore the title <i>La Stravaganza</i> (The Extravaganza), a designation popular at the time. In musical contexts it usually referred to chromatic harmonies, but in Vivaldi's case it forewarned prospective players of the challenges posed, epsecially for the principal violinist. (Up to this time, Roger had principally offered trio sonatas and concerti grossi, which were less demanding.) <br />
<br />
Op. 4 was a compendium of virtuoso techniques that were popularized by Vivaldi, who, as a performer, was known far and wide for his daring. His near-peers in this regard were violinist-composers such as Tomaso Albinoni and Lodovico Madonis, but their most demanding works appeared some years later and were less widely distributed. Op. 4 was dedicated to a Venetian nobleman, Vettor Delfin, whose family were largely engaged in military affairs. With only one exception (Op. 4, No. 7), the concertos were written in three movements. <br />
<br />
At the time Op. 4 appeared, Vivaldi had been filling holes left by the departure of [http://it.wikipedia.org/wiki/Francesco_Gasparini Francesco Gasparini (1661-1727)] at the Pietà. He was now turning his attention to motets and oratorios <i>per force</i> to bridge the gap left by Gasparini. It is therefore likely that most of these pieces were composed before the elder <i>maestro</i>'s departure. Reprints of Op. 4 appeared in 1723, 1728, and 1730, but selected individual works enjoyed independent circulation. Vivaldi had now reached the point where demand for his instrumental music exceeded the amount of time he could afford to devote to it. It may be for this reason that echoes of Op. 4 appear in a few later works by Vivaldi. Op. 7, No. 1, for example, was a first cousin of Op. 4, No. 9; myriad other variants of this set were quoted in later works. The cumulative effect was a splintering of work-identities that still confuses musicians today. Vivaldi himself adapted many of his works to suit new purposes as appropriate occasions arose. <br />
<br />
{{VivaldiOp4PDF}}<br />
<br />
===Op. 5: <i>VI Sonate/quatro à violino solo e basso e due a due violini e basso continuo</i>===<br />
Four of the six sonatas of Op. 5, published in Amsterdam (1716) as Estienne Roger's print No. 418, may have been remainders of Vivaldi's Op. 2, an opus consisting of a dozen solo violin sonatas. In Op. 5 we find four solo sonatas and two trio sonatas. During the visit of the young Danish king Frederick Christian IV to Venice in the winter of 1709, a great many banquets and balls were planned. Easily half of them were canceled either by hosts or guests because many people (including the doge and one of the Republic's official hosts) died. No autograph material for this opus survives. Op. 2 had been dedicated to Frederick Christian, but Op. 5 was an orphan of sorts. It contained a mixed repertory, lacked a dedicatee, and found insufficient popularity to prompt reprints. Few works were copied in manuscript. An exception was the first movement of Op. 5, No. 6, which was included in J. B. Cartier's <i>L'Art du Violon</i> (Paris, 1798). <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 5, No. 1 || RV 18 || Sonata / V, Bc || F Major || Example<br />
|-<br />
| Op. 5, No. 2 || RV 30 || Sonata / V, Bc || A Major || Example<br />
|-<br />
| Op. 5, No. 3 || RV 33 || Sonata / V, Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 4 || RV 35 || Sonata / V, Bc || B Minor || Example<br />
|-<br />
| Op. 5, No. 5 || RV 76 || Sonata / V1, V2, Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 6 || RV 72 || Sonata / V1, V2, Bc || G Minor || Example<br />
|}<br />
<br />
===Op. 6: <i>VI Concerti à cinque strumenti: 3 violini, alto viola, e basso continuo</i>===<br />
The six concertos for violin and strings of Op. 6, published in Amsterdam in 1716-1717 by Jeanne Roger (as her firm's print No. 452) represent both a continuation and a departure. The instrumental requirements are identical to those of Op. 4: they require a principal violin and a small string orchestra. This short collection could have served as a supplement to Op. 4, given the pattern set by Opp. 2 and 5 (another short set). The absence of a dedicatee and sundry details of the music suggest that Vivaldi did not actively seek this publication and that the print was therefore unauthorized. Mme. Roger heralded Vivaldi's titles as <i>maestro di violino</i> and <i>maestro di concerti</i> at the Pietà. <br />
<br />
Musically, five of the six works are in minor keys. Again forming a parallel with Op. 5, it was not followed by myriad other editions, although Le Cène brought out one (undated) reprint.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 6, No. 1 || RV 324 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 2 || RV 259 || Converto / VPr; V1 V2 Va Vc Org || C Minor || Example<br />
|-<br />
| Op. 6, No. 3 || RV 318 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 4 || RV 216 || Concerto / VPr; V1 V2 Va Vc Org || D Major || Example<br />
|-<br />
| Op. 6, No. 5 || RV 280 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || Example<br />
|-<br />
| Op. 6, No. 6 || RV 239 || Concerto / VPr; V1 V2 Va Vc Org || D Minor || Example<br />
|}<br />
<br />
===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===<br />
<br />
Vivsaldi's 12 concertos <i>a 5</i> (meaning three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for the solo episodes of the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained three movements. One can see that Vivaldi's idea of concerto had evolved considerably over a decade. The oboe arrangements of Nos. 1 and No. 7, as well as No. 9 (reset for oboe in a later opus) are now considered spurious. <br />
<br />
As scores passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his concertos began to take on a life of their own. No. 1 was revised by Johann Pisendel (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden Hofkapelle. <br />
No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro." No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in Walsh & Hare's anthology <i>Select Harmony</i> (1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work incudes a written cadenza. It was also transcribed by J. S. Bach for organ as BWV 594. Parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 7, No. 1 || RV 465 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 143 || Example<br />
|-<br />
| Op. 7, No. 2 || RV 188 || Concerto / VPr; V1 V2 Va Vc Org || C Major || || Example<br />
|-<br />
| Op. 7, No. 3 || RV 326 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || RV 370 || Example<br />
|-<br />
| Op. 7, No. 4 || RV 354 || Concerto / VPr; V1 V2 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 7, No. 5 || RV 285a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 285 || Example<br />
|-<br />
| Op. 7, No. 6 || RV 374 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 7, No. 7 || RV 464 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 142 || Example<br />
|-<br />
| Op. 7, No. 8 || RV 299 || Concerto / VPr; V1 V2 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 7, No. 9 || RV 373 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 153 || Example<br />
|-<br />
| Op. 7, No. 10 || RV 294a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 294 || Example<br />
|-<br />
| Op. 7, No. 11 || RV 208a || Concerto / VPr; V1 V2 Va Vc Org || D Major || BWV 594 (organ) || Example<br />
|-<br />
| Op. 7, No. 12 || RV 214 || Concerto / VPr; V1 V2 Va Vc Org || D Major || || Example<br />
|}<br />
<br />
===Op. 8: <i>Il cimento dell'armonia e dell'invenzione: Concerti a quattro e cinque</i>===<br />
Vivaldi's most famous opus was published in Amsterdam by Michel Charles Le Cène in 1725. It is clear, though, that various portions of sundry works had been written earlier. What was perhaps new was the formalization of the scheme, complete with the texts of the sonnets with which they were coordinated, of the first four concertos--The Four Seasons. These works, and their cyclical organization, captured the imagination of many and led to a "Four Seasons" industry of arrangements performances that extends to the current day. <br />
<br />
Unlike other opuses that postdated Vivaldi's move to Mantua, this one resumed the practice of dedicating the collection to a nobleman, in this case Venceslas, count of Morzin (also Morcin, spelled Marzin in the print itself). (Two concertos known only in manuscript, RV 449 and 496, were also dedicated to the count. <br />
He was Bohemian with townhouses in Prague and Vienna. He was an occasional patron of Venetian opera. Prague, the capital of Bohemia, was a thriving city was rapidly developing enterprises focused on opera and on the development of string music. One can see how poetic justice prevailed in this dedication: Bohemians not only loved music but were happy to master its component parts. <br />
<br />
This opus was more popular in France than anywhere else. Parisian reprints issued from the presses of Madame Boivin (c. 1739, 1743, 1748). Manuscripts were widely circulated. Rearrangements of portions of the opus were opus also proliferated. In Dresden, the orchestration of some works was enriched by Johann Pisendel, who also elaborated some of the articulation. <br />
<br />
In the works as a set, major keys predominate. Nos. 7, 9, AND 11 are known in alternative versions. The final of movement of Op. 8, No. 11 presents a particularly complex web of revisions to the alternation of tutti and solo. <br />
<br />
====CCARH Parts for Op. 8====<br />
The following parts for Antonio Vivaldi's Op.8 concerti accompany the full score available from Dover Publications:<br />
<br />
* Vivaldi, Antonio. "The Four Seasons" and Other Violin Concertos in Full Score; Opus 8, Complete. Ed. by Eleanor Selfridge-Field. Mineola, New York: Dover Publications; 1995. ISBN 0-486-28638-X.<br />
<br />
<center><br />
{{VivaldiOp8PDFTable}}<br />
</center><br />
<br><br />
<br />
===Op. 9: <i>La cetra. Concerti</i>===<br />
Vivaldi's Concertos Op. 9, published in Amsterdam by Michel Charles Le Cène in Vols. 533 and 534 (datable from 1727), have the distinction of having been dedicated to the emperor Charles VI. The two met two years later in Trieste, where the emperor was more enraptured by Vivaldi's music and the intelligence with which he discussed it than with the diplomatic matters at hand. Op. 9 is easily confused with a contemporary set of twelve unpublished concertos for violin also called "La Cetra," that Vivaldi presented to the Emperor during his 1729 visit, as part of a diplomatic delegation, to Trieste. <br />
<br />
The works of Op. 9 were not so widely circulated as those of other recent volumes of Vivaldi's music, and a few were not new. (Three of the works were known in alternative versions.) The popularity of the "Four Seasons" concertos (Op. 8, Nos. 1-4) blinded the public to Vivaldi's future prints, while Vivaldi's own interest in publishing instrumental music was also in decline after the appearance of this collection. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 9, No. 1 || RV 181a || [VPr]; V1 V2 V3 Va Vc Org || C Major || RV 180 || Example<br />
|-<br />
| Op. 9, No. 2 || RV 375 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 3 || RV 334 || [VPr]; V1 V2 V3 Va Vc Org || G Minor || || Example<br />
|-<br />
| Op. 9, No. 4 || RV 263a || [VPr]; V1 V2 V3 Va Vc Org || E Major || RV 263 || Example<br />
|-<br />
| Op. 9, No. 5 || RV 358 || [VPr]; V1 V2 V3 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 9, No. 6 || RV 348 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 7 || RV 359 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 8 || RV 238 || [VPr]; V1 V2 V3 Va Vc Org || D Minor || || Example<br />
|-<br />
| Op. 9, No. 9 || RV 530 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 10 || RV 300 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 9, No. 11 || RV 198a || [VPr]; V1 V2 V3 Va Vc Org || C Minor || RV 198 || Example<br />
|-<br />
| Op. 9, No. 12 || RV 391 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|}<br />
<br />
The part for <i>Violino Principale</i> is lost, although a manuscript part-book for it survives for a few works.<br />
<br />
===Op. 10: <i>VI Concerti a flauto traverso</i>===<br />
Six Concertos for Flute and String Orchestra, Op. 10; Related Variants<br />
<br />
As published, Vivaldi's Opus 10 is a straightforward collection of concertos for flute and string orchestra. <br />
Most works which originally called for obbligato flutes seem to have originated during the early 1720s, perhaps reflecting opportunities that Vivaldi encountered in Rome, where he stayed intermittently between c. 1719 and 1724. Although the transverse flute was then little known in Italy, the availability of an excellent player is was essential for the execution of several of his works for it. <br />
<br />
Opus 10 appeared in 1729, in rough coincidence with Vivaldi's violin concertos Opp. 11 and 12, but most of the work are likely to have composed years earlier. All three volumes were published in Amsterdam. Although published set was designed for a market oriented towards a standardized, relatively neutral instrumentation, the origins of the individual works were heterogeneous. The indications suggested by the related concertos listed on the lower half of the chart do not include subtle differences of instrumental alternatives and/or pairings--for example, an independent oboe part vs. an oboe part duplicating a second violin, a separate cello part vs. an unspecified Basso, and so forth. These are among the kinds of details that have necessitated separate listings for works that are musically similar. One manuscript source for No. 3 is scored for recorder rather than violin. <br />
<br />
The transverse flute and the recorder were both associated with a certain freedom of timbral choice. The so-called chamber concertos (RV 570, 90, and 101) for flute (or recorder), oboe, bassoon, violin, and bass can be understood to signify this sense of free play, rather than to represent a sub-genre cast in concrete. Although Vivaldi's chamber concertos had few analogues during Vivaldi's lifetime, they paved the way to a rich chamber repertory in the later eighteenth century.<br />
<br />
<center><br />
{{VivaldiOpl0PDFTable}}<br />
</center><br />
<br />
The first three works are the best known ones of the collection, but their nicknames accrued over time. Their programmatic allusions are largely confirmed in associated manuscripts. Storms at sea and phantoms of the night (the images cultivated by the first two pieces) were staples of opera staging at Venice's Teatro Sant'Angelo, the Venetian theater with which Vivaldi and his father were most consistently associated. Both played a prominent role in Venetian scene paintings contemporary with Vivaldi. <br />
<br />
The representation of sleep in the fourth movement of Op 10, No. 2, is illustrative of a fascination with dreams and the supernatural that was probed cautiously on the stage because of the pervasive scrutiny of religious censors. However, the dramatization of darkness fed Sant'Angelo's penchant for grottoes and grotesque scenes. It is darkness that the bassoon invokes in the manuscript RV 501 (the loose analogue of No. 2), where the the key is Bb Major rather than G Minor.<br />
<br />
Vivaldi's depictions of bird-calls (in Op. 10, No. 3 a bullfinch) were prevalent not only in his concertos but also in his operas, and in dozens of works by other composers of the time. Also elsewhere they often suggested the formal gardens that were so much promoted by the aristocracy, in Vivaldi's case they are more often a natural depiction of bucolic habitats consistent with the imagery of Arcadian shepherds than of programmed landscapes abroad. <br />
<br />
The <i>sopranino</i> recorder concerto RV 444 is a unique work among Vivaldi's <i>oeuvre</i>, although it could easily have been adapted to a different soloist. It would have suited a virtuoso of considerable renown.<br />
<br />
The parts provided here correspond to the Dover Publication entitled <i>Six Concertos for Flute and String Orchestra, Op. 10, and Related Variants</i>.<br />
<br />
===Op. 11: <i>Sei concerti</i>===<br />
In Opp. 11 and 12 Vivaldi returned to the practice of publishing six works at a time. His earlier 12-work prints are usually presented as two books of six, but there were practical benefits to grouping the works into two sets. Opp. 11 and 12 appear to be cut from the same cloth and may have been intended as a single publication. They appeared with consecutive print numbers (Nos. 545, 546) from presses of Michel Charles Le Cène in 1729. In comparison to all of Vivaldi's music printed since 1711 they were poorly circulated.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Related works !! Score <br />
|-<br />
| Op. 11, No. 1 || RV 207 || Concerto / VPr; V1 V2 Va Vc Bc || D Major || || Example<br />
|-<br />
| Op. 11, No. 2 || RV 277 || Concerto / VPr; V1 V2 Va Vc Bc || E Minor || Nicknamed "Il Favorito" || Example<br />
|-<br />
| Op. 11, No. 3 || RV 336 || Concerto / VPr; V1 V2 Va Vc Bc || A Major || || Example <br />
|-<br />
| Op. 11, No. 4 || RV 308 || Concerto / VPr; V1 V2 Va Vc Bc || G Major || || Example <br />
|-<br />
| Op. 11, No. 5 || RV 202 || Concerto / VPr; V1 V2 Va Vc Bc || G Minor || || Example <br />
|-<br />
| Op. 11, No. 6 || RV 260 || Concerto / VPr; V1 V2 Va Vc Bc || C Minor || Op. 9, No. 3 (RV 334) || Example<br />
|}<br />
<br />
===Op. 12: <i>Sei concerti</i>===<br />
Vivaldi's six concertos Op. 12 (1729) represent the final printed publication of his music. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 12, No. 1 || RV 317 || Concerto / VPr V1 V2 Va Vc Bc || G Minor || Example<br />
|-<br />
| Op. 12, No. 2 || RV 244 || Concerto / VPr V1 V2 Va Vc Bc || D Minor || Example<br />
|-<br />
| Op. 12, No. 3 || RV 124 || Concerto / VPr V1 V2 Va Vc Bc || D Major || Example<br />
|-<br />
| Op. 12, No. 4 || RV 173 || Concerto / VPr V1 V2 Va Vc Bc || C Major || Example<br />
|-<br />
| Op. 12, No. 5 || RV 379 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 12, No. 6 || RV 361 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|}<br />
<br />
==Unpublished instrumental works==<br />
<br />
The number of Vivaldi's unpublished instrumental pieces greatly exceeds those that were printed in the composer's lifetime. They generally follow the same lines and populate the same genres of sonata and concerto. The two most conspicuous differences between the published and unpublished works are that dates of composition are more difficult to pin down for the manuscript works and nearly all of the works with obbligato wind parts were never published. <br />
<br />
Why were works with obbligato winds not published in Vivaldi's time? The demand for works with wind parts was much lower, while learning to play the violin was a popular activity among noblemen. Numerous accounts of special occasions note the addition of local amateur players to orchestras for serenatas and sinfonias. Learning to play a bowed instrument conferred a certain prestige on the fledgling performer. <br />
<br />
In Italy wind instruments, which were not readily available, were required in music for particular kinds of ceremonies or scenes in operas. Nasal reeds, such as the oboe, were used in funeral music or to signify impending doom. Recorders and cross-flutes were associated with peasants and with dancing. Bassoons could signify the underworld. Among brasses, trumpets had been used discreetly to represent military advances and triumphs since before Vivaldi was born, but their appearances were few. <br />
<br />
Vivaldi's interactions with musicians from north of the Alps provided him with incentives to score parts for oboes, bassoons, recorders, cross-flutes, and other novel instruments. He also adapted some of his concertos with a wind instrument instead of a principal violin. Op. 10 is the only print that shows off his wind interests here, but the menu of works related to that set of six (grouped here with Op. 10) shows the latitude (or lack thereof) in adaptations. <br />
<br />
Yet in Italy the idea of using these different timbres together with strings was one that remained somewhat foreign at the end of Vivaldi's life. In his operas, winds were usually deployed in pairs. Quite often their use was limited to opening performances, when entrance fees were higher. Because their players were paid one night at a time, the wind parts did not always survive. Modern editions represent optimal versions of the work at hand, but the fact that many wind parts have only one or two solo episodes in an entire work and otherwise double string parts allows for some latitude in interpretation and some accommodation of strained circumstances.<br />
<br />
=Oratorios=<br />
== [http://wiki.ccarh.org/wiki/Juditha_triumphans <i>Juditha triumphans</i>] ==<br />
<br />
Click title to see separate webpage.<br />
<br />
= References =</div>Edchttps://wiki.ccarh.org/index.php?title=MuseData:_Antonio_Vivaldi&diff=10474MuseData: Antonio Vivaldi2021-03-24T14:49:57Z<p>Edc: /* Op. 7: Concerti a 5 strumenti: Tre violini, alto viola e basso continuo */</p>
<hr />
<div>__TOC__<br />
<br />
<br />
==Published Sonatas and Concertos==<br />
Antonio Lucio Vivaldi (1678-1741) is best known to modern audiences for his instrumental music. Like most composers of his time, Vivaldi composed in the formal medium of the sonata in his earliest publications (from 1703). His reputation was propelled by his concertos, the earliest of which appeared in 1711. This is still the genre with which he is most widely associated. <br />
<br />
===Op. 1: <i>Suonate da camera a trè, due violini e violone o cembalo</i>===<br />
Vivaldi's twelve sonatas Op. 1 are presumed to have been published prior to his appointment as <i>maestro di violino</i> at the Ospedale della Pietà, Venice, because he is described without reference to the institution as "<i>musico di violino, professore veneto</i>" (a violinist and teacher in the Veneto). The works were dedicated to the count Annibale Gambara, one of five sons in a big family of noblemen from Brescia (the city in which Vivaldi's father was born), a provincial capital in the western Veneto. The Gambara also had a modest palace on the Grand Canal in the Venetian parish of San Barnabà. <br />
<br />
[[File:Op1-12_Folia_V1.png|400px|thumb|center|Excerpt from the Violino primo (first violin) part of the Folìa of Vivaldi's Sonata Op. 1, No. 12 (Venice: Giuseppe Sala, 1705). Image from the partbook in the Conservatorio Benedetto Marcello, Venice. Used by permission.]]<br />
<br />
These trio sonatas contained various numbers of movements (3 to 6), most in binary form. The four outer works (Nos. 1, 2, 11, and 12) were in minor keys, the others in major ones. The best known work is Op. 1, No. 12, which features an ambitious <i>folìa</i> movement at its conclusion. The earliest surviving print of Op. 1 was published in Venice (G. Sala) in 1705. The collection was reprinted in Amsterdam in 1723 (E. Roger, as print No. 363), in Paris in 1759 (Le Clerc), and in Austria in 1759. Many movements are brief and musically simple, so much so that were one to judge from this opus alone, one would not have anticipated the kind of success that Vivaldi later found.<br />
<br />
{{VivaldiOp1PDF}}<br />
<br />
===Op. 2: <i>Sonate a violino e basso per il cembalo</i>===<br />
[[File:Carlevaris_FredIV_viaGetty-Google.png|575px|thumb|left|Detail of Luca Carlevaris's depiction of the regatta held on the Grand Canal, Venice, for Frederick IV of Denmark (1709). Reproduction of public-domain image from the Getty Museum as shown in the Google Art project.]]<br />
<br />
The trio sonata, over which Vivaldi had exhibited his command in Op. 1, had been the most prevalent instrumental genre of the 1690s, but in the first decade of the eighteenth century interest began to gravitate towards the "solo" sonata--a work in several movements for one ensemble instrument and a basso continuo. In this 1709 collection by the Venetian publisher Antonio Bortoli, Vivaldi pursued a more expressive vein of musical enticement. The opus was dedicated to the visiting young monarch Frederick IV of Denmark. As prince of Schleswig-Holstein, his extended stay drew much artistic attention. No fewer than three operas were dedicated to him. <br />
<br />
Seven of these sonatas were cast in minor keys. The movement structure remained variable. Vivaldi was moving in the direction of fewer movements but with greater musical elaboration within each movement. He was still described as <i>musico di violino</i> but also as <i>maestro dei concerti</i> (concertmaster) of the Ospedale della Pietà. <br />
<br />
{{VivaldiOp2PDF}}<br />
<br />
Like Op. 1, Op. 2 had a long afterlife in both reprints and manuscript copies, mainly abroad. These included the publications of E. Roger (Amsterdam, 1712) and several editions (1721-1730) by I. Walsh J. Young (London).<br />
<br />
===Op. 3: <i>L'estro armonico: Concerti</i>=== <br />
[[File:Ferdinando_de'_Medici_c1687_Cassana.jpg|300px|thumb|right|Portrait of Ferdinando de' Medici, grand prince of Tuscany, in c. 1687 by the Venetian painter Niccolò Cassana. Wikimedia Commons.]]<br />
<br />
The first concertos by Vivaldi to reach print were those of Opus 3 (Amsterdam, 1711). With them Vivaldi suddenly became a celebrity, for although he was well known as a virtuoso, his previously published works had found a relatively modest reception. Vivaldi's titles remained as they were in Op. 2. Most composers described the contents of a publication in sufficient detail to indicate instrumentation, but Vivaldi settled for the word "Concerti" in order to allow space for the titles of his patron, the Grand Prince of Tuscany, [http://it.wikipedia.org/wiki/Ferdinando_de%27_Medici#Teatro Ferdinando III (1663-1713)]. The Grand Prince, who led a flamboyant life, enjoyed his visits to Venice, where however he contracted syphilis in 1696. This led to his premature death and changed the course of Tuscan (and imperial) history. Meanwhile, however, his patronage of music benefited many composers of the time including [http://en.wikipedia.org/wiki/Tomaso_Albinoni Tomaso Albinoni (1671-1751)], [http://en.wikipedia.org/wiki/Handel George Frederick Handel (1685-1759)], and [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Alessandro Scarlatti (1660-1725)]. His Bavarian wife, [http://it.wikipedia.org/wiki/Violante_Beatrice_di_Baviera Violante Beatrice (1673-1731)], was in many ways a still more significant supporter of individual singers and instrumentalists. <br />
<br />
Having now completed eight years' of teaching at the [[Ospedale of the Pietà]] in Venice, Vivaldi shows himself to have experimented with a variety of approaches to textures and groupings of instruments. These twelve works are arranged cyclically, such that Nos. 1, 4, 7, and 10 are scored for four violins and string orchestra; Nos. 2, 5, 8, and 11 for two violins, violoncello, and string orchestra; and Nos. 3, 6, 9, and 12 for solo violin (Violino Principale) and string orchestra. Within the <i>concertino</i> groups (four violins or, alternatively, two violins and violoncello), there is further separation. The "four violins" model often involves the pairing of the instruments such that one duo imitates another. This kind of experimentation is suggested by the word <i>estro</i>, which refers to gestational properties whereby one musical passage generates the need for the next. In musical terms, the sophistication of the idea represented an enormous step forward for Vivaldi, whose first sonatas were primitive and somewhat generic by comparison. <br />
<br />
Additionally, the music was more cogent than before, the organization manifestly rational. The imaginative scoring, careful markup, and newly pungent musical affects were novelties not found in Opp. 1 or 2. If he had leaned on the familiar models of [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Arcangelo Corelli (1753-1713)] before, Vivaldi was now producing music that was novel, ambitious, and aesthetically pleasing. Largely in coincidence with this publication, Vivaldi's concerts at the Pietà began to win plaudits from a succession of visiting dignitaries from abroad. <br />
<br />
Within the context of the early concerto, Op. 3 was equally noteworthy. The now elderly Corelli had perfected the <i>concerto grosso</i> [his [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli#The_Concerti_grossi_Op._6 Op. 6] would be published only posthumously in 1714]. Vivaldi's concertos for two and four violins had some debts to these works, but his concertos for solo violin and orchestra did not have Corellian models to follow. The trumpet concertos by [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Giuseppe Torelli (1658-1709)] are an oft mentioned alternative model, but Vivaldi's skills at articulation and exhibitionism were unrivaled. The violin was capable of much greater subtlety than the trumpet. <br />
<br />
====Dissemination of Individual Works from Op. 3====<br />
The <i>Concerti</i> Op. 3 were so popular that the entire opus was reprinted in Amsterdam within a year. Other reprints followed in both London and Paris through 1751. Because of the cyclical rotation of different combinations of instruments from work to work individual pieces in Op. 3 led themselves to diverse uses. The basic organization is shown in the table. Parsed one way, it is a four-fold cycle of three works. The textures vary with the instrumentation.<br />
<br />
Several works from Opus 3 took on lives of their own. Six works (indicated by an asterisk*) were transcribed by J. S. Bach, and there are faint clues that Bach may have transcribed them all. Bach was highly sensitive to the cyclical instrumentation of Vivaldi's collection: Nos 1, 4, 7, and 10 were set for two pairs of solo violins; Nos. 2, 5, 8, and 11 for a trio of soloists (two violins and violoncello); Nos. 3, 6, 9, and 12 for principal violin, in all cases with string orchestra. As the table below shows, Bach chose the second type an organ adaptation and the third type for concertos for harpsichord and strings, while the first type served as a model for his lone concerto for four harpsichords and strings. The trio sonata, which was at its peak in the years 1700-1710, was a popular reservoir for organ transcriptions in Germany, but the other adaptations had no such currency. Concertos for four harpsichords were unknown. <br />
<br />
Wide circulation of Vivaldi's concertos was further stimulated by John Walsh's edition of Op. 3 in <i>c.</i> 1715. In this print, the order of Nos. 6-9 was altered so that these concertos became Nos. 8, 9, 6, and 7). The clavichord transcriptions of Anne Dawson include many works in Vivaldi's Opp. 3 and 4 show a further dimension of the music's adaptation. Numerous transcriptions and copies survive in Europe and North America.<br />
<br />
====CCARH Scores and Parts for Opus 3====<br />
[[File:Op3DoverCover.jpg|100px||left]]<br />
<br />
CCARH cooperated with Dover Publications Inc. in producing the scores that appear in <i>L'estro armonico: Twelve Concertos for Violins and String Orchestra, Op. 3</i>. The cover is shown below. The collection entitled <i>L'estro armonico</i> was the first title under Vivaldi's name to draw widespread attention. It is likely that some of the work had already been performed in selected gatherings. The were profusely copied, arranged, and reprinted (with numerous variants) over the next few decades. <br />
<br />
For bound paper copies, see Vivaldi, Antonio. <i>"L'Estro armonico", Op. 3 in Full Score: 12 Concertos for Violins and String Orchestra</i>, ed. Eleanor Selfridge-Field (Mineola, New York: Dover Publications; 1999). Available from Amazon [http://www.amazon.com/exec/obidos/tg/detail/-/0486406318/themefinder/002-2800507-6138416 ISBN 0-486-40631-8] and Dover [http://store.doverpublications.com/review.html?pr_page_id=0486406318 ISBN 0-486-40631-8].<br />
</ul><br />
<br />
{{VivaldiOp3PDF}}<br />
<br><br />
<br />
===Op. 4: <i>La Stravaganza: Concerti in six parts</i>===<br />
Vivaldi's violin concertos Op. 4 (announced in London on January 1, 1715) achieved a much broader penetration of the European market than any previous publication of his music. The collection, published in Amsterdam as Estienne Roger's prints Nos. 399 and 400, bore the title <i>La Stravaganza</i> (The Extravaganza), a designation popular at the time. In musical contexts it usually referred to chromatic harmonies, but in Vivaldi's case it forewarned prospective players of the challenges posed, epsecially for the principal violinist. (Up to this time, Roger had principally offered trio sonatas and concerti grossi, which were less demanding.) <br />
<br />
Op. 4 was a compendium of virtuoso techniques that were popularized by Vivaldi, who, as a performer, was known far and wide for his daring. His near-peers in this regard were violinist-composers such as Tomaso Albinoni and Lodovico Madonis, but their most demanding works appeared some years later and were less widely distributed. Op. 4 was dedicated to a Venetian nobleman, Vettor Delfin, whose family were largely engaged in military affairs. With only one exception (Op. 4, No. 7), the concertos were written in three movements. <br />
<br />
At the time Op. 4 appeared, Vivaldi had been filling holes left by the departure of [http://it.wikipedia.org/wiki/Francesco_Gasparini Francesco Gasparini (1661-1727)] at the Pietà. He was now turning his attention to motets and oratorios <i>per force</i> to bridge the gap left by Gasparini. It is therefore likely that most of these pieces were composed before the elder <i>maestro</i>'s departure. Reprints of Op. 4 appeared in 1723, 1728, and 1730, but selected individual works enjoyed independent circulation. Vivaldi had now reached the point where demand for his instrumental music exceeded the amount of time he could afford to devote to it. It may be for this reason that echoes of Op. 4 appear in a few later works by Vivaldi. Op. 7, No. 1, for example, was a first cousin of Op. 4, No. 9; myriad other variants of this set were quoted in later works. The cumulative effect was a splintering of work-identities that still confuses musicians today. Vivaldi himself adapted many of his works to suit new purposes as appropriate occasions arose. <br />
<br />
{{VivaldiOp4PDF}}<br />
<br />
===Op. 5: <i>VI Sonate/quatro à violino solo e basso e due a due violini e basso continuo</i>===<br />
Four of the six sonatas of Op. 5, published in Amsterdam (1716) as Estienne Roger's print No. 418, may have been remainders of Vivaldi's Op. 2, an opus consisting of a dozen solo violin sonatas. In Op. 5 we find four solo sonatas and two trio sonatas. During the visit of the young Danish king Frederick Christian IV to Venice in the winter of 1709, a great many banquets and balls were planned. Easily half of them were canceled either by hosts or guests because many people (including the doge and one of the Republic's official hosts) died. No autograph material for this opus survives. Op. 2 had been dedicated to Frederick Christian, but Op. 5 was an orphan of sorts. It contained a mixed repertory, lacked a dedicatee, and found insufficient popularity to prompt reprints. Few works were copied in manuscript. An exception was the first movement of Op. 5, No. 6, which was included in J. B. Cartier's <i>L'Art du Violon</i> (Paris, 1798). <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 5, No. 1 || RV 18 || Sonata / V, Bc || F Major || Example<br />
|-<br />
| Op. 5, No. 2 || RV 30 || Sonata / V, Bc || A Major || Example<br />
|-<br />
| Op. 5, No. 3 || RV 33 || Sonata / V, Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 4 || RV 35 || Sonata / V, Bc || B Minor || Example<br />
|-<br />
| Op. 5, No. 5 || RV 76 || Sonata / V1, V2, Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 6 || RV 72 || Sonata / V1, V2, Bc || G Minor || Example<br />
|}<br />
<br />
===Op. 6: <i>VI Concerti à cinque strumenti: 3 violini, alto viola, e basso continuo</i>===<br />
The six concertos for violin and strings of Op. 6, published in Amsterdam in 1716-1717 by Jeanne Roger (as her firm's print No. 452) represent both a continuation and a departure. The instrumental requirements are identical to those of Op. 4: they require a principal violin and a small string orchestra. This short collection could have served as a supplement to Op. 4, given the pattern set by Opp. 2 and 5 (another short set). The absence of a dedicatee and sundry details of the music suggest that Vivaldi did not actively seek this publication and that the print was therefore unauthorized. Mme. Roger heralded Vivaldi's titles as <i>maestro di violino</i> and <i>maestro di concerti</i> at the Pietà. <br />
<br />
Musically, five of the six works are in minor keys. Again forming a parallel with Op. 5, it was not followed by myriad other editions, although Le Cène brought out one (undated) reprint.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 6, No. 1 || RV 324 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 2 || RV 259 || Converto / VPr; V1 V2 Va Vc Org || C Minor || Example<br />
|-<br />
| Op. 6, No. 3 || RV 318 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 4 || RV 216 || Concerto / VPr; V1 V2 Va Vc Org || D Major || Example<br />
|-<br />
| Op. 6, No. 5 || RV 280 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || Example<br />
|-<br />
| Op. 6, No. 6 || RV 239 || Concerto / VPr; V1 V2 Va Vc Org || D Minor || Example<br />
|}<br />
<br />
===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===<br />
<br />
Vivsaldi's 12 concertos <i>a 5</i> (meaning three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for the solo episodes of the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained three movements. One can see that Vivaldi's idea of concerto had evolved considerably over a decade. The oboe arrangements of Nos. 1 and No. 7, as well as No. 9 (reset for oboe in a later opus) are now considered spurious. <br />
<br />
As scores passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his concertos began to take on a life of their own. No. 1 was revised by Johann Pisendel (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden Hofkapelle. <br />
No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro." No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in Walsh & Hare's anthology <i>Select Harmony</i> (1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work incudes a written cadanza. It was also transcribed by J. S. Bach for organ as BWV 594. Parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 7, No. 1 || RV 465 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 143 || Example<br />
|-<br />
| Op. 7, No. 2 || RV 188 || Concerto / VPr; V1 V2 Va Vc Org || C Major || || Example<br />
|-<br />
| Op. 7, No. 3 || RV 326 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || RV 370 || Example<br />
|-<br />
| Op. 7, No. 4 || RV 354 || Concerto / VPr; V1 V2 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 7, No. 5 || RV 285a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 285 || Example<br />
|-<br />
| Op. 7, No. 6 || RV 374 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 7, No. 7 || RV 464 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 142 || Example<br />
|-<br />
| Op. 7, No. 8 || RV 299 || Concerto / VPr; V1 V2 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 7, No. 9 || RV 373 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 153 || Example<br />
|-<br />
| Op. 7, No. 10 || RV 294a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 294 || Example<br />
|-<br />
| Op. 7, No. 11 || RV 208a || Concerto / VPr; V1 V2 Va Vc Org || D Major || BWV 594 (organ) || Example<br />
|-<br />
| Op. 7, No. 12 || RV 214 || Concerto / VPr; V1 V2 Va Vc Org || D Major || || Example<br />
|}<br />
<br />
===Op. 8: <i>Il cimento dell'armonia e dell'invenzione: Concerti a quattro e cinque</i>===<br />
Vivaldi's most famous opus was published in Amsterdam by Michel Charles Le Cène in 1725. It is clear, though, that various portions of sundry works had been written earlier. What was perhaps new was the formalization of the scheme, complete with the texts of the sonnets with which they were coordinated, of the first four concertos--The Four Seasons. These works, and their cyclical organization, captured the imagination of many and led to a "Four Seasons" industry of arrangements performances that extends to the current day. <br />
<br />
Unlike other opuses that postdated Vivaldi's move to Mantua, this one resumed the practice of dedicating the collection to a nobleman, in this case Venceslas, count of Morzin (also Morcin, spelled Marzin in the print itself). (Two concertos known only in manuscript, RV 449 and 496, were also dedicated to the count. <br />
He was Bohemian with townhouses in Prague and Vienna. He was an occasional patron of Venetian opera. Prague, the capital of Bohemia, was a thriving city was rapidly developing enterprises focused on opera and on the development of string music. One can see how poetic justice prevailed in this dedication: Bohemians not only loved music but were happy to master its component parts. <br />
<br />
This opus was more popular in France than anywhere else. Parisian reprints issued from the presses of Madame Boivin (c. 1739, 1743, 1748). Manuscripts were widely circulated. Rearrangements of portions of the opus were opus also proliferated. In Dresden, the orchestration of some works was enriched by Johann Pisendel, who also elaborated some of the articulation. <br />
<br />
In the works as a set, major keys predominate. Nos. 7, 9, AND 11 are known in alternative versions. The final of movement of Op. 8, No. 11 presents a particularly complex web of revisions to the alternation of tutti and solo. <br />
<br />
====CCARH Parts for Op. 8====<br />
The following parts for Antonio Vivaldi's Op.8 concerti accompany the full score available from Dover Publications:<br />
<br />
* Vivaldi, Antonio. "The Four Seasons" and Other Violin Concertos in Full Score; Opus 8, Complete. Ed. by Eleanor Selfridge-Field. Mineola, New York: Dover Publications; 1995. ISBN 0-486-28638-X.<br />
<br />
<center><br />
{{VivaldiOp8PDFTable}}<br />
</center><br />
<br><br />
<br />
===Op. 9: <i>La cetra. Concerti</i>===<br />
Vivaldi's Concertos Op. 9, published in Amsterdam by Michel Charles Le Cène in Vols. 533 and 534 (datable from 1727), have the distinction of having been dedicated to the emperor Charles VI. The two met two years later in Trieste, where the emperor was more enraptured by Vivaldi's music and the intelligence with which he discussed it than with the diplomatic matters at hand. Op. 9 is easily confused with a contemporary set of twelve unpublished concertos for violin also called "La Cetra," that Vivaldi presented to the Emperor during his 1729 visit, as part of a diplomatic delegation, to Trieste. <br />
<br />
The works of Op. 9 were not so widely circulated as those of other recent volumes of Vivaldi's music, and a few were not new. (Three of the works were known in alternative versions.) The popularity of the "Four Seasons" concertos (Op. 8, Nos. 1-4) blinded the public to Vivaldi's future prints, while Vivaldi's own interest in publishing instrumental music was also in decline after the appearance of this collection. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 9, No. 1 || RV 181a || [VPr]; V1 V2 V3 Va Vc Org || C Major || RV 180 || Example<br />
|-<br />
| Op. 9, No. 2 || RV 375 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 3 || RV 334 || [VPr]; V1 V2 V3 Va Vc Org || G Minor || || Example<br />
|-<br />
| Op. 9, No. 4 || RV 263a || [VPr]; V1 V2 V3 Va Vc Org || E Major || RV 263 || Example<br />
|-<br />
| Op. 9, No. 5 || RV 358 || [VPr]; V1 V2 V3 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 9, No. 6 || RV 348 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 7 || RV 359 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 8 || RV 238 || [VPr]; V1 V2 V3 Va Vc Org || D Minor || || Example<br />
|-<br />
| Op. 9, No. 9 || RV 530 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 10 || RV 300 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 9, No. 11 || RV 198a || [VPr]; V1 V2 V3 Va Vc Org || C Minor || RV 198 || Example<br />
|-<br />
| Op. 9, No. 12 || RV 391 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|}<br />
<br />
The part for <i>Violino Principale</i> is lost, although a manuscript part-book for it survives for a few works.<br />
<br />
===Op. 10: <i>VI Concerti a flauto traverso</i>===<br />
Six Concertos for Flute and String Orchestra, Op. 10; Related Variants<br />
<br />
As published, Vivaldi's Opus 10 is a straightforward collection of concertos for flute and string orchestra. <br />
Most works which originally called for obbligato flutes seem to have originated during the early 1720s, perhaps reflecting opportunities that Vivaldi encountered in Rome, where he stayed intermittently between c. 1719 and 1724. Although the transverse flute was then little known in Italy, the availability of an excellent player is was essential for the execution of several of his works for it. <br />
<br />
Opus 10 appeared in 1729, in rough coincidence with Vivaldi's violin concertos Opp. 11 and 12, but most of the work are likely to have composed years earlier. All three volumes were published in Amsterdam. Although published set was designed for a market oriented towards a standardized, relatively neutral instrumentation, the origins of the individual works were heterogeneous. The indications suggested by the related concertos listed on the lower half of the chart do not include subtle differences of instrumental alternatives and/or pairings--for example, an independent oboe part vs. an oboe part duplicating a second violin, a separate cello part vs. an unspecified Basso, and so forth. These are among the kinds of details that have necessitated separate listings for works that are musically similar. One manuscript source for No. 3 is scored for recorder rather than violin. <br />
<br />
The transverse flute and the recorder were both associated with a certain freedom of timbral choice. The so-called chamber concertos (RV 570, 90, and 101) for flute (or recorder), oboe, bassoon, violin, and bass can be understood to signify this sense of free play, rather than to represent a sub-genre cast in concrete. Although Vivaldi's chamber concertos had few analogues during Vivaldi's lifetime, they paved the way to a rich chamber repertory in the later eighteenth century.<br />
<br />
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{{VivaldiOpl0PDFTable}}<br />
</center><br />
<br />
The first three works are the best known ones of the collection, but their nicknames accrued over time. Their programmatic allusions are largely confirmed in associated manuscripts. Storms at sea and phantoms of the night (the images cultivated by the first two pieces) were staples of opera staging at Venice's Teatro Sant'Angelo, the Venetian theater with which Vivaldi and his father were most consistently associated. Both played a prominent role in Venetian scene paintings contemporary with Vivaldi. <br />
<br />
The representation of sleep in the fourth movement of Op 10, No. 2, is illustrative of a fascination with dreams and the supernatural that was probed cautiously on the stage because of the pervasive scrutiny of religious censors. However, the dramatization of darkness fed Sant'Angelo's penchant for grottoes and grotesque scenes. It is darkness that the bassoon invokes in the manuscript RV 501 (the loose analogue of No. 2), where the the key is Bb Major rather than G Minor.<br />
<br />
Vivaldi's depictions of bird-calls (in Op. 10, No. 3 a bullfinch) were prevalent not only in his concertos but also in his operas, and in dozens of works by other composers of the time. Also elsewhere they often suggested the formal gardens that were so much promoted by the aristocracy, in Vivaldi's case they are more often a natural depiction of bucolic habitats consistent with the imagery of Arcadian shepherds than of programmed landscapes abroad. <br />
<br />
The <i>sopranino</i> recorder concerto RV 444 is a unique work among Vivaldi's <i>oeuvre</i>, although it could easily have been adapted to a different soloist. It would have suited a virtuoso of considerable renown.<br />
<br />
The parts provided here correspond to the Dover Publication entitled <i>Six Concertos for Flute and String Orchestra, Op. 10, and Related Variants</i>.<br />
<br />
===Op. 11: <i>Sei concerti</i>===<br />
In Opp. 11 and 12 Vivaldi returned to the practice of publishing six works at a time. His earlier 12-work prints are usually presented as two books of six, but there were practical benefits to grouping the works into two sets. Opp. 11 and 12 appear to be cut from the same cloth and may have been intended as a single publication. They appeared with consecutive print numbers (Nos. 545, 546) from presses of Michel Charles Le Cène in 1729. In comparison to all of Vivaldi's music printed since 1711 they were poorly circulated.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Related works !! Score <br />
|-<br />
| Op. 11, No. 1 || RV 207 || Concerto / VPr; V1 V2 Va Vc Bc || D Major || || Example<br />
|-<br />
| Op. 11, No. 2 || RV 277 || Concerto / VPr; V1 V2 Va Vc Bc || E Minor || Nicknamed "Il Favorito" || Example<br />
|-<br />
| Op. 11, No. 3 || RV 336 || Concerto / VPr; V1 V2 Va Vc Bc || A Major || || Example <br />
|-<br />
| Op. 11, No. 4 || RV 308 || Concerto / VPr; V1 V2 Va Vc Bc || G Major || || Example <br />
|-<br />
| Op. 11, No. 5 || RV 202 || Concerto / VPr; V1 V2 Va Vc Bc || G Minor || || Example <br />
|-<br />
| Op. 11, No. 6 || RV 260 || Concerto / VPr; V1 V2 Va Vc Bc || C Minor || Op. 9, No. 3 (RV 334) || Example<br />
|}<br />
<br />
===Op. 12: <i>Sei concerti</i>===<br />
Vivaldi's six concertos Op. 12 (1729) represent the final printed publication of his music. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 12, No. 1 || RV 317 || Concerto / VPr V1 V2 Va Vc Bc || G Minor || Example<br />
|-<br />
| Op. 12, No. 2 || RV 244 || Concerto / VPr V1 V2 Va Vc Bc || D Minor || Example<br />
|-<br />
| Op. 12, No. 3 || RV 124 || Concerto / VPr V1 V2 Va Vc Bc || D Major || Example<br />
|-<br />
| Op. 12, No. 4 || RV 173 || Concerto / VPr V1 V2 Va Vc Bc || C Major || Example<br />
|-<br />
| Op. 12, No. 5 || RV 379 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 12, No. 6 || RV 361 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|}<br />
<br />
==Unpublished instrumental works==<br />
<br />
The number of Vivaldi's unpublished instrumental pieces greatly exceeds those that were printed in the composer's lifetime. They generally follow the same lines and populate the same genres of sonata and concerto. The two most conspicuous differences between the published and unpublished works are that dates of composition are more difficult to pin down for the manuscript works and nearly all of the works with obbligato wind parts were never published. <br />
<br />
Why were works with obbligato winds not published in Vivaldi's time? The demand for works with wind parts was much lower, while learning to play the violin was a popular activity among noblemen. Numerous accounts of special occasions note the addition of local amateur players to orchestras for serenatas and sinfonias. Learning to play a bowed instrument conferred a certain prestige on the fledgling performer. <br />
<br />
In Italy wind instruments, which were not readily available, were required in music for particular kinds of ceremonies or scenes in operas. Nasal reeds, such as the oboe, were used in funeral music or to signify impending doom. Recorders and cross-flutes were associated with peasants and with dancing. Bassoons could signify the underworld. Among brasses, trumpets had been used discreetly to represent military advances and triumphs since before Vivaldi was born, but their appearances were few. <br />
<br />
Vivaldi's interactions with musicians from north of the Alps provided him with incentives to score parts for oboes, bassoons, recorders, cross-flutes, and other novel instruments. He also adapted some of his concertos with a wind instrument instead of a principal violin. Op. 10 is the only print that shows off his wind interests here, but the menu of works related to that set of six (grouped here with Op. 10) shows the latitude (or lack thereof) in adaptations. <br />
<br />
Yet in Italy the idea of using these different timbres together with strings was one that remained somewhat foreign at the end of Vivaldi's life. In his operas, winds were usually deployed in pairs. Quite often their use was limited to opening performances, when entrance fees were higher. Because their players were paid one night at a time, the wind parts did not always survive. Modern editions represent optimal versions of the work at hand, but the fact that many wind parts have only one or two solo episodes in an entire work and otherwise double string parts allows for some latitude in interpretation and some accommodation of strained circumstances.<br />
<br />
=Oratorios=<br />
== [http://wiki.ccarh.org/wiki/Juditha_triumphans <i>Juditha triumphans</i>] ==<br />
<br />
Click title to see separate webpage.<br />
<br />
= References =</div>Edchttps://wiki.ccarh.org/index.php?title=MuseData:_Antonio_Vivaldi&diff=10473MuseData: Antonio Vivaldi2021-03-24T14:44:14Z<p>Edc: /* Op. 5: VI Sonate/quatro à violino solo e basso e due a due violini e basso continuo */</p>
<hr />
<div>__TOC__<br />
<br />
<br />
==Published Sonatas and Concertos==<br />
Antonio Lucio Vivaldi (1678-1741) is best known to modern audiences for his instrumental music. Like most composers of his time, Vivaldi composed in the formal medium of the sonata in his earliest publications (from 1703). His reputation was propelled by his concertos, the earliest of which appeared in 1711. This is still the genre with which he is most widely associated. <br />
<br />
===Op. 1: <i>Suonate da camera a trè, due violini e violone o cembalo</i>===<br />
Vivaldi's twelve sonatas Op. 1 are presumed to have been published prior to his appointment as <i>maestro di violino</i> at the Ospedale della Pietà, Venice, because he is described without reference to the institution as "<i>musico di violino, professore veneto</i>" (a violinist and teacher in the Veneto). The works were dedicated to the count Annibale Gambara, one of five sons in a big family of noblemen from Brescia (the city in which Vivaldi's father was born), a provincial capital in the western Veneto. The Gambara also had a modest palace on the Grand Canal in the Venetian parish of San Barnabà. <br />
<br />
[[File:Op1-12_Folia_V1.png|400px|thumb|center|Excerpt from the Violino primo (first violin) part of the Folìa of Vivaldi's Sonata Op. 1, No. 12 (Venice: Giuseppe Sala, 1705). Image from the partbook in the Conservatorio Benedetto Marcello, Venice. Used by permission.]]<br />
<br />
These trio sonatas contained various numbers of movements (3 to 6), most in binary form. The four outer works (Nos. 1, 2, 11, and 12) were in minor keys, the others in major ones. The best known work is Op. 1, No. 12, which features an ambitious <i>folìa</i> movement at its conclusion. The earliest surviving print of Op. 1 was published in Venice (G. Sala) in 1705. The collection was reprinted in Amsterdam in 1723 (E. Roger, as print No. 363), in Paris in 1759 (Le Clerc), and in Austria in 1759. Many movements are brief and musically simple, so much so that were one to judge from this opus alone, one would not have anticipated the kind of success that Vivaldi later found.<br />
<br />
{{VivaldiOp1PDF}}<br />
<br />
===Op. 2: <i>Sonate a violino e basso per il cembalo</i>===<br />
[[File:Carlevaris_FredIV_viaGetty-Google.png|575px|thumb|left|Detail of Luca Carlevaris's depiction of the regatta held on the Grand Canal, Venice, for Frederick IV of Denmark (1709). Reproduction of public-domain image from the Getty Museum as shown in the Google Art project.]]<br />
<br />
The trio sonata, over which Vivaldi had exhibited his command in Op. 1, had been the most prevalent instrumental genre of the 1690s, but in the first decade of the eighteenth century interest began to gravitate towards the "solo" sonata--a work in several movements for one ensemble instrument and a basso continuo. In this 1709 collection by the Venetian publisher Antonio Bortoli, Vivaldi pursued a more expressive vein of musical enticement. The opus was dedicated to the visiting young monarch Frederick IV of Denmark. As prince of Schleswig-Holstein, his extended stay drew much artistic attention. No fewer than three operas were dedicated to him. <br />
<br />
Seven of these sonatas were cast in minor keys. The movement structure remained variable. Vivaldi was moving in the direction of fewer movements but with greater musical elaboration within each movement. He was still described as <i>musico di violino</i> but also as <i>maestro dei concerti</i> (concertmaster) of the Ospedale della Pietà. <br />
<br />
{{VivaldiOp2PDF}}<br />
<br />
Like Op. 1, Op. 2 had a long afterlife in both reprints and manuscript copies, mainly abroad. These included the publications of E. Roger (Amsterdam, 1712) and several editions (1721-1730) by I. Walsh J. Young (London).<br />
<br />
===Op. 3: <i>L'estro armonico: Concerti</i>=== <br />
[[File:Ferdinando_de'_Medici_c1687_Cassana.jpg|300px|thumb|right|Portrait of Ferdinando de' Medici, grand prince of Tuscany, in c. 1687 by the Venetian painter Niccolò Cassana. Wikimedia Commons.]]<br />
<br />
The first concertos by Vivaldi to reach print were those of Opus 3 (Amsterdam, 1711). With them Vivaldi suddenly became a celebrity, for although he was well known as a virtuoso, his previously published works had found a relatively modest reception. Vivaldi's titles remained as they were in Op. 2. Most composers described the contents of a publication in sufficient detail to indicate instrumentation, but Vivaldi settled for the word "Concerti" in order to allow space for the titles of his patron, the Grand Prince of Tuscany, [http://it.wikipedia.org/wiki/Ferdinando_de%27_Medici#Teatro Ferdinando III (1663-1713)]. The Grand Prince, who led a flamboyant life, enjoyed his visits to Venice, where however he contracted syphilis in 1696. This led to his premature death and changed the course of Tuscan (and imperial) history. Meanwhile, however, his patronage of music benefited many composers of the time including [http://en.wikipedia.org/wiki/Tomaso_Albinoni Tomaso Albinoni (1671-1751)], [http://en.wikipedia.org/wiki/Handel George Frederick Handel (1685-1759)], and [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Alessandro Scarlatti (1660-1725)]. His Bavarian wife, [http://it.wikipedia.org/wiki/Violante_Beatrice_di_Baviera Violante Beatrice (1673-1731)], was in many ways a still more significant supporter of individual singers and instrumentalists. <br />
<br />
Having now completed eight years' of teaching at the [[Ospedale of the Pietà]] in Venice, Vivaldi shows himself to have experimented with a variety of approaches to textures and groupings of instruments. These twelve works are arranged cyclically, such that Nos. 1, 4, 7, and 10 are scored for four violins and string orchestra; Nos. 2, 5, 8, and 11 for two violins, violoncello, and string orchestra; and Nos. 3, 6, 9, and 12 for solo violin (Violino Principale) and string orchestra. Within the <i>concertino</i> groups (four violins or, alternatively, two violins and violoncello), there is further separation. The "four violins" model often involves the pairing of the instruments such that one duo imitates another. This kind of experimentation is suggested by the word <i>estro</i>, which refers to gestational properties whereby one musical passage generates the need for the next. In musical terms, the sophistication of the idea represented an enormous step forward for Vivaldi, whose first sonatas were primitive and somewhat generic by comparison. <br />
<br />
Additionally, the music was more cogent than before, the organization manifestly rational. The imaginative scoring, careful markup, and newly pungent musical affects were novelties not found in Opp. 1 or 2. If he had leaned on the familiar models of [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Arcangelo Corelli (1753-1713)] before, Vivaldi was now producing music that was novel, ambitious, and aesthetically pleasing. Largely in coincidence with this publication, Vivaldi's concerts at the Pietà began to win plaudits from a succession of visiting dignitaries from abroad. <br />
<br />
Within the context of the early concerto, Op. 3 was equally noteworthy. The now elderly Corelli had perfected the <i>concerto grosso</i> [his [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli#The_Concerti_grossi_Op._6 Op. 6] would be published only posthumously in 1714]. Vivaldi's concertos for two and four violins had some debts to these works, but his concertos for solo violin and orchestra did not have Corellian models to follow. The trumpet concertos by [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Giuseppe Torelli (1658-1709)] are an oft mentioned alternative model, but Vivaldi's skills at articulation and exhibitionism were unrivaled. The violin was capable of much greater subtlety than the trumpet. <br />
<br />
====Dissemination of Individual Works from Op. 3====<br />
The <i>Concerti</i> Op. 3 were so popular that the entire opus was reprinted in Amsterdam within a year. Other reprints followed in both London and Paris through 1751. Because of the cyclical rotation of different combinations of instruments from work to work individual pieces in Op. 3 led themselves to diverse uses. The basic organization is shown in the table. Parsed one way, it is a four-fold cycle of three works. The textures vary with the instrumentation.<br />
<br />
Several works from Opus 3 took on lives of their own. Six works (indicated by an asterisk*) were transcribed by J. S. Bach, and there are faint clues that Bach may have transcribed them all. Bach was highly sensitive to the cyclical instrumentation of Vivaldi's collection: Nos 1, 4, 7, and 10 were set for two pairs of solo violins; Nos. 2, 5, 8, and 11 for a trio of soloists (two violins and violoncello); Nos. 3, 6, 9, and 12 for principal violin, in all cases with string orchestra. As the table below shows, Bach chose the second type an organ adaptation and the third type for concertos for harpsichord and strings, while the first type served as a model for his lone concerto for four harpsichords and strings. The trio sonata, which was at its peak in the years 1700-1710, was a popular reservoir for organ transcriptions in Germany, but the other adaptations had no such currency. Concertos for four harpsichords were unknown. <br />
<br />
Wide circulation of Vivaldi's concertos was further stimulated by John Walsh's edition of Op. 3 in <i>c.</i> 1715. In this print, the order of Nos. 6-9 was altered so that these concertos became Nos. 8, 9, 6, and 7). The clavichord transcriptions of Anne Dawson include many works in Vivaldi's Opp. 3 and 4 show a further dimension of the music's adaptation. Numerous transcriptions and copies survive in Europe and North America.<br />
<br />
====CCARH Scores and Parts for Opus 3====<br />
[[File:Op3DoverCover.jpg|100px||left]]<br />
<br />
CCARH cooperated with Dover Publications Inc. in producing the scores that appear in <i>L'estro armonico: Twelve Concertos for Violins and String Orchestra, Op. 3</i>. The cover is shown below. The collection entitled <i>L'estro armonico</i> was the first title under Vivaldi's name to draw widespread attention. It is likely that some of the work had already been performed in selected gatherings. The were profusely copied, arranged, and reprinted (with numerous variants) over the next few decades. <br />
<br />
For bound paper copies, see Vivaldi, Antonio. <i>"L'Estro armonico", Op. 3 in Full Score: 12 Concertos for Violins and String Orchestra</i>, ed. Eleanor Selfridge-Field (Mineola, New York: Dover Publications; 1999). Available from Amazon [http://www.amazon.com/exec/obidos/tg/detail/-/0486406318/themefinder/002-2800507-6138416 ISBN 0-486-40631-8] and Dover [http://store.doverpublications.com/review.html?pr_page_id=0486406318 ISBN 0-486-40631-8].<br />
</ul><br />
<br />
{{VivaldiOp3PDF}}<br />
<br><br />
<br />
===Op. 4: <i>La Stravaganza: Concerti in six parts</i>===<br />
Vivaldi's violin concertos Op. 4 (announced in London on January 1, 1715) achieved a much broader penetration of the European market than any previous publication of his music. The collection, published in Amsterdam as Estienne Roger's prints Nos. 399 and 400, bore the title <i>La Stravaganza</i> (The Extravaganza), a designation popular at the time. In musical contexts it usually referred to chromatic harmonies, but in Vivaldi's case it forewarned prospective players of the challenges posed, epsecially for the principal violinist. (Up to this time, Roger had principally offered trio sonatas and concerti grossi, which were less demanding.) <br />
<br />
Op. 4 was a compendium of virtuoso techniques that were popularized by Vivaldi, who, as a performer, was known far and wide for his daring. His near-peers in this regard were violinist-composers such as Tomaso Albinoni and Lodovico Madonis, but their most demanding works appeared some years later and were less widely distributed. Op. 4 was dedicated to a Venetian nobleman, Vettor Delfin, whose family were largely engaged in military affairs. With only one exception (Op. 4, No. 7), the concertos were written in three movements. <br />
<br />
At the time Op. 4 appeared, Vivaldi had been filling holes left by the departure of [http://it.wikipedia.org/wiki/Francesco_Gasparini Francesco Gasparini (1661-1727)] at the Pietà. He was now turning his attention to motets and oratorios <i>per force</i> to bridge the gap left by Gasparini. It is therefore likely that most of these pieces were composed before the elder <i>maestro</i>'s departure. Reprints of Op. 4 appeared in 1723, 1728, and 1730, but selected individual works enjoyed independent circulation. Vivaldi had now reached the point where demand for his instrumental music exceeded the amount of time he could afford to devote to it. It may be for this reason that echoes of Op. 4 appear in a few later works by Vivaldi. Op. 7, No. 1, for example, was a first cousin of Op. 4, No. 9; myriad other variants of this set were quoted in later works. The cumulative effect was a splintering of work-identities that still confuses musicians today. Vivaldi himself adapted many of his works to suit new purposes as appropriate occasions arose. <br />
<br />
{{VivaldiOp4PDF}}<br />
<br />
===Op. 5: <i>VI Sonate/quatro à violino solo e basso e due a due violini e basso continuo</i>===<br />
Four of the six sonatas of Op. 5, published in Amsterdam (1716) as Estienne Roger's print No. 418, may have been remainders of Vivaldi's Op. 2, an opus consisting of a dozen solo violin sonatas. In Op. 5 we find four solo sonatas and two trio sonatas. During the visit of the young Danish king Frederick Christian IV to Venice in the winter of 1709, a great many banquets and balls were planned. Easily half of them were canceled either by hosts or guests because many people (including the doge and one of the Republic's official hosts) died. No autograph material for this opus survives. Op. 2 had been dedicated to Frederick Christian, but Op. 5 was an orphan of sorts. It contained a mixed repertory, lacked a dedicatee, and found insufficient popularity to prompt reprints. Few works were copied in manuscript. An exception was the first movement of Op. 5, No. 6, which was included in J. B. Cartier's <i>L'Art du Violon</i> (Paris, 1798). <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 5, No. 1 || RV 18 || Sonata / V, Bc || F Major || Example<br />
|-<br />
| Op. 5, No. 2 || RV 30 || Sonata / V, Bc || A Major || Example<br />
|-<br />
| Op. 5, No. 3 || RV 33 || Sonata / V, Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 4 || RV 35 || Sonata / V, Bc || B Minor || Example<br />
|-<br />
| Op. 5, No. 5 || RV 76 || Sonata / V1, V2, Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 6 || RV 72 || Sonata / V1, V2, Bc || G Minor || Example<br />
|}<br />
<br />
===Op. 6: <i>VI Concerti à cinque strumenti: 3 violini, alto viola, e basso continuo</i>===<br />
The six concertos for violin and strings of Op. 6, published in Amsterdam in 1716-1717 by Jeanne Roger (as her firm's print No. 452) represent both a continuation and a departure. The instrumental requirements are identical to those of Op. 4: they require a principal violin and a small string orchestra. This short collection could have served as a supplement to Op. 4, given the pattern set by Opp. 2 and 5 (another short set). The absence of a dedicatee and sundry details of the music suggest that Vivaldi did not actively seek this publication and that the print was therefore unauthorized. Mme. Roger heralded Vivaldi's titles as <i>maestro di violino</i> and <i>maestro di concerti</i> at the Pietà. <br />
<br />
Musically, five of the six works are in minor keys. Again forming a parallel with Op. 5, it was not followed by myriad other editions, although Le Cène brought out one (undated) reprint.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 6, No. 1 || RV 324 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 2 || RV 259 || Converto / VPr; V1 V2 Va Vc Org || C Minor || Example<br />
|-<br />
| Op. 6, No. 3 || RV 318 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 4 || RV 216 || Concerto / VPr; V1 V2 Va Vc Org || D Major || Example<br />
|-<br />
| Op. 6, No. 5 || RV 280 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || Example<br />
|-<br />
| Op. 6, No. 6 || RV 239 || Concerto / VPr; V1 V2 Va Vc Org || D Minor || Example<br />
|}<br />
<br />
===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===<br />
<br />
Vivsaldi's 12 concertos <i>a 5</i> (meaning three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for the solo episodes of the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained three movements. One can see that Vivaldi's idea of concerto had evolved considerably over a decade. The oboe arrangements of Nos. 1 and No. 7, as well as No. 9 (reset for oboe in a later opus) are now considered spurious. <br />
<br />
As scores passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his concertos began to take on a life of their own. No. 1 was revised by Johann Pisendel (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden Hofkapelle. <br />
No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro." No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in Walsh & Hare's anthology <i>Select Harmony</i> (1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work incudes a written cadanza. It was also transcribed by J. S. Bach for organ as BWV 594. Parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 7, No. 1 || RV 465 || Concerto / Ob (VPr) V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 143 || Example<br />
|-<br />
| Op. 7, No. 2 || RV 188 || Concerto / VPr; V1 V2 Va Vc Org || C Major || || Example<br />
|-<br />
| Op. 7, No. 3 || RV 326 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || RV 370 || Example<br />
|-<br />
| Op. 7, No. 4 || RV 354 || Concerto / VPr; V1 V2 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 7, No. 5 || RV 285a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 285 || Example<br />
|-<br />
| Op. 7, No. 6 || RV 374 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 7, No. 7 || RV 464 || Concerto / Ob (VPr) V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 142 || Example<br />
|-<br />
| Op. 7, No. 8 || RV 299 || Concerto / VPr; V1 V2 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 7, No. 9 || RV 373 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 153 || Example<br />
|-<br />
| Op. 7, No. 10 || RV 294a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 294 || Example<br />
|-<br />
| Op. 7, No. 11 || RV 208a || Concerto / VPr; V1 V2 Va Vc Org || D Major || BWV 594 (organ) || Example<br />
|-<br />
| Op. 7, No. 12 || RV 214 || Concerto / VPr; V1 V2 Va Vc Org || D Major || || Example<br />
|}<br />
<br />
===Op. 8: <i>Il cimento dell'armonia e dell'invenzione: Concerti a quattro e cinque</i>===<br />
Vivaldi's most famous opus was published in Amsterdam by Michel Charles Le Cène in 1725. It is clear, though, that various portions of sundry works had been written earlier. What was perhaps new was the formalization of the scheme, complete with the texts of the sonnets with which they were coordinated, of the first four concertos--The Four Seasons. These works, and their cyclical organization, captured the imagination of many and led to a "Four Seasons" industry of arrangements performances that extends to the current day. <br />
<br />
Unlike other opuses that postdated Vivaldi's move to Mantua, this one resumed the practice of dedicating the collection to a nobleman, in this case Venceslas, count of Morzin (also Morcin, spelled Marzin in the print itself). (Two concertos known only in manuscript, RV 449 and 496, were also dedicated to the count. <br />
He was Bohemian with townhouses in Prague and Vienna. He was an occasional patron of Venetian opera. Prague, the capital of Bohemia, was a thriving city was rapidly developing enterprises focused on opera and on the development of string music. One can see how poetic justice prevailed in this dedication: Bohemians not only loved music but were happy to master its component parts. <br />
<br />
This opus was more popular in France than anywhere else. Parisian reprints issued from the presses of Madame Boivin (c. 1739, 1743, 1748). Manuscripts were widely circulated. Rearrangements of portions of the opus were opus also proliferated. In Dresden, the orchestration of some works was enriched by Johann Pisendel, who also elaborated some of the articulation. <br />
<br />
In the works as a set, major keys predominate. Nos. 7, 9, AND 11 are known in alternative versions. The final of movement of Op. 8, No. 11 presents a particularly complex web of revisions to the alternation of tutti and solo. <br />
<br />
====CCARH Parts for Op. 8====<br />
The following parts for Antonio Vivaldi's Op.8 concerti accompany the full score available from Dover Publications:<br />
<br />
* Vivaldi, Antonio. "The Four Seasons" and Other Violin Concertos in Full Score; Opus 8, Complete. Ed. by Eleanor Selfridge-Field. Mineola, New York: Dover Publications; 1995. ISBN 0-486-28638-X.<br />
<br />
<center><br />
{{VivaldiOp8PDFTable}}<br />
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<br><br />
<br />
===Op. 9: <i>La cetra. Concerti</i>===<br />
Vivaldi's Concertos Op. 9, published in Amsterdam by Michel Charles Le Cène in Vols. 533 and 534 (datable from 1727), have the distinction of having been dedicated to the emperor Charles VI. The two met two years later in Trieste, where the emperor was more enraptured by Vivaldi's music and the intelligence with which he discussed it than with the diplomatic matters at hand. Op. 9 is easily confused with a contemporary set of twelve unpublished concertos for violin also called "La Cetra," that Vivaldi presented to the Emperor during his 1729 visit, as part of a diplomatic delegation, to Trieste. <br />
<br />
The works of Op. 9 were not so widely circulated as those of other recent volumes of Vivaldi's music, and a few were not new. (Three of the works were known in alternative versions.) The popularity of the "Four Seasons" concertos (Op. 8, Nos. 1-4) blinded the public to Vivaldi's future prints, while Vivaldi's own interest in publishing instrumental music was also in decline after the appearance of this collection. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 9, No. 1 || RV 181a || [VPr]; V1 V2 V3 Va Vc Org || C Major || RV 180 || Example<br />
|-<br />
| Op. 9, No. 2 || RV 375 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 3 || RV 334 || [VPr]; V1 V2 V3 Va Vc Org || G Minor || || Example<br />
|-<br />
| Op. 9, No. 4 || RV 263a || [VPr]; V1 V2 V3 Va Vc Org || E Major || RV 263 || Example<br />
|-<br />
| Op. 9, No. 5 || RV 358 || [VPr]; V1 V2 V3 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 9, No. 6 || RV 348 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 7 || RV 359 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 8 || RV 238 || [VPr]; V1 V2 V3 Va Vc Org || D Minor || || Example<br />
|-<br />
| Op. 9, No. 9 || RV 530 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 10 || RV 300 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 9, No. 11 || RV 198a || [VPr]; V1 V2 V3 Va Vc Org || C Minor || RV 198 || Example<br />
|-<br />
| Op. 9, No. 12 || RV 391 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|}<br />
<br />
The part for <i>Violino Principale</i> is lost, although a manuscript part-book for it survives for a few works.<br />
<br />
===Op. 10: <i>VI Concerti a flauto traverso</i>===<br />
Six Concertos for Flute and String Orchestra, Op. 10; Related Variants<br />
<br />
As published, Vivaldi's Opus 10 is a straightforward collection of concertos for flute and string orchestra. <br />
Most works which originally called for obbligato flutes seem to have originated during the early 1720s, perhaps reflecting opportunities that Vivaldi encountered in Rome, where he stayed intermittently between c. 1719 and 1724. Although the transverse flute was then little known in Italy, the availability of an excellent player is was essential for the execution of several of his works for it. <br />
<br />
Opus 10 appeared in 1729, in rough coincidence with Vivaldi's violin concertos Opp. 11 and 12, but most of the work are likely to have composed years earlier. All three volumes were published in Amsterdam. Although published set was designed for a market oriented towards a standardized, relatively neutral instrumentation, the origins of the individual works were heterogeneous. The indications suggested by the related concertos listed on the lower half of the chart do not include subtle differences of instrumental alternatives and/or pairings--for example, an independent oboe part vs. an oboe part duplicating a second violin, a separate cello part vs. an unspecified Basso, and so forth. These are among the kinds of details that have necessitated separate listings for works that are musically similar. One manuscript source for No. 3 is scored for recorder rather than violin. <br />
<br />
The transverse flute and the recorder were both associated with a certain freedom of timbral choice. The so-called chamber concertos (RV 570, 90, and 101) for flute (or recorder), oboe, bassoon, violin, and bass can be understood to signify this sense of free play, rather than to represent a sub-genre cast in concrete. Although Vivaldi's chamber concertos had few analogues during Vivaldi's lifetime, they paved the way to a rich chamber repertory in the later eighteenth century.<br />
<br />
<center><br />
{{VivaldiOpl0PDFTable}}<br />
</center><br />
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The first three works are the best known ones of the collection, but their nicknames accrued over time. Their programmatic allusions are largely confirmed in associated manuscripts. Storms at sea and phantoms of the night (the images cultivated by the first two pieces) were staples of opera staging at Venice's Teatro Sant'Angelo, the Venetian theater with which Vivaldi and his father were most consistently associated. Both played a prominent role in Venetian scene paintings contemporary with Vivaldi. <br />
<br />
The representation of sleep in the fourth movement of Op 10, No. 2, is illustrative of a fascination with dreams and the supernatural that was probed cautiously on the stage because of the pervasive scrutiny of religious censors. However, the dramatization of darkness fed Sant'Angelo's penchant for grottoes and grotesque scenes. It is darkness that the bassoon invokes in the manuscript RV 501 (the loose analogue of No. 2), where the the key is Bb Major rather than G Minor.<br />
<br />
Vivaldi's depictions of bird-calls (in Op. 10, No. 3 a bullfinch) were prevalent not only in his concertos but also in his operas, and in dozens of works by other composers of the time. Also elsewhere they often suggested the formal gardens that were so much promoted by the aristocracy, in Vivaldi's case they are more often a natural depiction of bucolic habitats consistent with the imagery of Arcadian shepherds than of programmed landscapes abroad. <br />
<br />
The <i>sopranino</i> recorder concerto RV 444 is a unique work among Vivaldi's <i>oeuvre</i>, although it could easily have been adapted to a different soloist. It would have suited a virtuoso of considerable renown.<br />
<br />
The parts provided here correspond to the Dover Publication entitled <i>Six Concertos for Flute and String Orchestra, Op. 10, and Related Variants</i>.<br />
<br />
===Op. 11: <i>Sei concerti</i>===<br />
In Opp. 11 and 12 Vivaldi returned to the practice of publishing six works at a time. His earlier 12-work prints are usually presented as two books of six, but there were practical benefits to grouping the works into two sets. Opp. 11 and 12 appear to be cut from the same cloth and may have been intended as a single publication. They appeared with consecutive print numbers (Nos. 545, 546) from presses of Michel Charles Le Cène in 1729. In comparison to all of Vivaldi's music printed since 1711 they were poorly circulated.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Related works !! Score <br />
|-<br />
| Op. 11, No. 1 || RV 207 || Concerto / VPr; V1 V2 Va Vc Bc || D Major || || Example<br />
|-<br />
| Op. 11, No. 2 || RV 277 || Concerto / VPr; V1 V2 Va Vc Bc || E Minor || Nicknamed "Il Favorito" || Example<br />
|-<br />
| Op. 11, No. 3 || RV 336 || Concerto / VPr; V1 V2 Va Vc Bc || A Major || || Example <br />
|-<br />
| Op. 11, No. 4 || RV 308 || Concerto / VPr; V1 V2 Va Vc Bc || G Major || || Example <br />
|-<br />
| Op. 11, No. 5 || RV 202 || Concerto / VPr; V1 V2 Va Vc Bc || G Minor || || Example <br />
|-<br />
| Op. 11, No. 6 || RV 260 || Concerto / VPr; V1 V2 Va Vc Bc || C Minor || Op. 9, No. 3 (RV 334) || Example<br />
|}<br />
<br />
===Op. 12: <i>Sei concerti</i>===<br />
Vivaldi's six concertos Op. 12 (1729) represent the final printed publication of his music. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 12, No. 1 || RV 317 || Concerto / VPr V1 V2 Va Vc Bc || G Minor || Example<br />
|-<br />
| Op. 12, No. 2 || RV 244 || Concerto / VPr V1 V2 Va Vc Bc || D Minor || Example<br />
|-<br />
| Op. 12, No. 3 || RV 124 || Concerto / VPr V1 V2 Va Vc Bc || D Major || Example<br />
|-<br />
| Op. 12, No. 4 || RV 173 || Concerto / VPr V1 V2 Va Vc Bc || C Major || Example<br />
|-<br />
| Op. 12, No. 5 || RV 379 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 12, No. 6 || RV 361 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|}<br />
<br />
==Unpublished instrumental works==<br />
<br />
The number of Vivaldi's unpublished instrumental pieces greatly exceeds those that were printed in the composer's lifetime. They generally follow the same lines and populate the same genres of sonata and concerto. The two most conspicuous differences between the published and unpublished works are that dates of composition are more difficult to pin down for the manuscript works and nearly all of the works with obbligato wind parts were never published. <br />
<br />
Why were works with obbligato winds not published in Vivaldi's time? The demand for works with wind parts was much lower, while learning to play the violin was a popular activity among noblemen. Numerous accounts of special occasions note the addition of local amateur players to orchestras for serenatas and sinfonias. Learning to play a bowed instrument conferred a certain prestige on the fledgling performer. <br />
<br />
In Italy wind instruments, which were not readily available, were required in music for particular kinds of ceremonies or scenes in operas. Nasal reeds, such as the oboe, were used in funeral music or to signify impending doom. Recorders and cross-flutes were associated with peasants and with dancing. Bassoons could signify the underworld. Among brasses, trumpets had been used discreetly to represent military advances and triumphs since before Vivaldi was born, but their appearances were few. <br />
<br />
Vivaldi's interactions with musicians from north of the Alps provided him with incentives to score parts for oboes, bassoons, recorders, cross-flutes, and other novel instruments. He also adapted some of his concertos with a wind instrument instead of a principal violin. Op. 10 is the only print that shows off his wind interests here, but the menu of works related to that set of six (grouped here with Op. 10) shows the latitude (or lack thereof) in adaptations. <br />
<br />
Yet in Italy the idea of using these different timbres together with strings was one that remained somewhat foreign at the end of Vivaldi's life. In his operas, winds were usually deployed in pairs. Quite often their use was limited to opening performances, when entrance fees were higher. Because their players were paid one night at a time, the wind parts did not always survive. Modern editions represent optimal versions of the work at hand, but the fact that many wind parts have only one or two solo episodes in an entire work and otherwise double string parts allows for some latitude in interpretation and some accommodation of strained circumstances.<br />
<br />
=Oratorios=<br />
== [http://wiki.ccarh.org/wiki/Juditha_triumphans <i>Juditha triumphans</i>] ==<br />
<br />
Click title to see separate webpage.<br />
<br />
= References =</div>Edchttps://wiki.ccarh.org/index.php?title=MuseData:_Antonio_Vivaldi&diff=10472MuseData: Antonio Vivaldi2021-03-24T14:41:31Z<p>Edc: /* Op. 5: VI Sonate/quatro à violino solo e basso e due a due violini e basso continuo */</p>
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<div>__TOC__<br />
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<br />
==Published Sonatas and Concertos==<br />
Antonio Lucio Vivaldi (1678-1741) is best known to modern audiences for his instrumental music. Like most composers of his time, Vivaldi composed in the formal medium of the sonata in his earliest publications (from 1703). His reputation was propelled by his concertos, the earliest of which appeared in 1711. This is still the genre with which he is most widely associated. <br />
<br />
===Op. 1: <i>Suonate da camera a trè, due violini e violone o cembalo</i>===<br />
Vivaldi's twelve sonatas Op. 1 are presumed to have been published prior to his appointment as <i>maestro di violino</i> at the Ospedale della Pietà, Venice, because he is described without reference to the institution as "<i>musico di violino, professore veneto</i>" (a violinist and teacher in the Veneto). The works were dedicated to the count Annibale Gambara, one of five sons in a big family of noblemen from Brescia (the city in which Vivaldi's father was born), a provincial capital in the western Veneto. The Gambara also had a modest palace on the Grand Canal in the Venetian parish of San Barnabà. <br />
<br />
[[File:Op1-12_Folia_V1.png|400px|thumb|center|Excerpt from the Violino primo (first violin) part of the Folìa of Vivaldi's Sonata Op. 1, No. 12 (Venice: Giuseppe Sala, 1705). Image from the partbook in the Conservatorio Benedetto Marcello, Venice. Used by permission.]]<br />
<br />
These trio sonatas contained various numbers of movements (3 to 6), most in binary form. The four outer works (Nos. 1, 2, 11, and 12) were in minor keys, the others in major ones. The best known work is Op. 1, No. 12, which features an ambitious <i>folìa</i> movement at its conclusion. The earliest surviving print of Op. 1 was published in Venice (G. Sala) in 1705. The collection was reprinted in Amsterdam in 1723 (E. Roger, as print No. 363), in Paris in 1759 (Le Clerc), and in Austria in 1759. Many movements are brief and musically simple, so much so that were one to judge from this opus alone, one would not have anticipated the kind of success that Vivaldi later found.<br />
<br />
{{VivaldiOp1PDF}}<br />
<br />
===Op. 2: <i>Sonate a violino e basso per il cembalo</i>===<br />
[[File:Carlevaris_FredIV_viaGetty-Google.png|575px|thumb|left|Detail of Luca Carlevaris's depiction of the regatta held on the Grand Canal, Venice, for Frederick IV of Denmark (1709). Reproduction of public-domain image from the Getty Museum as shown in the Google Art project.]]<br />
<br />
The trio sonata, over which Vivaldi had exhibited his command in Op. 1, had been the most prevalent instrumental genre of the 1690s, but in the first decade of the eighteenth century interest began to gravitate towards the "solo" sonata--a work in several movements for one ensemble instrument and a basso continuo. In this 1709 collection by the Venetian publisher Antonio Bortoli, Vivaldi pursued a more expressive vein of musical enticement. The opus was dedicated to the visiting young monarch Frederick IV of Denmark. As prince of Schleswig-Holstein, his extended stay drew much artistic attention. No fewer than three operas were dedicated to him. <br />
<br />
Seven of these sonatas were cast in minor keys. The movement structure remained variable. Vivaldi was moving in the direction of fewer movements but with greater musical elaboration within each movement. He was still described as <i>musico di violino</i> but also as <i>maestro dei concerti</i> (concertmaster) of the Ospedale della Pietà. <br />
<br />
{{VivaldiOp2PDF}}<br />
<br />
Like Op. 1, Op. 2 had a long afterlife in both reprints and manuscript copies, mainly abroad. These included the publications of E. Roger (Amsterdam, 1712) and several editions (1721-1730) by I. Walsh J. Young (London).<br />
<br />
===Op. 3: <i>L'estro armonico: Concerti</i>=== <br />
[[File:Ferdinando_de'_Medici_c1687_Cassana.jpg|300px|thumb|right|Portrait of Ferdinando de' Medici, grand prince of Tuscany, in c. 1687 by the Venetian painter Niccolò Cassana. Wikimedia Commons.]]<br />
<br />
The first concertos by Vivaldi to reach print were those of Opus 3 (Amsterdam, 1711). With them Vivaldi suddenly became a celebrity, for although he was well known as a virtuoso, his previously published works had found a relatively modest reception. Vivaldi's titles remained as they were in Op. 2. Most composers described the contents of a publication in sufficient detail to indicate instrumentation, but Vivaldi settled for the word "Concerti" in order to allow space for the titles of his patron, the Grand Prince of Tuscany, [http://it.wikipedia.org/wiki/Ferdinando_de%27_Medici#Teatro Ferdinando III (1663-1713)]. The Grand Prince, who led a flamboyant life, enjoyed his visits to Venice, where however he contracted syphilis in 1696. This led to his premature death and changed the course of Tuscan (and imperial) history. Meanwhile, however, his patronage of music benefited many composers of the time including [http://en.wikipedia.org/wiki/Tomaso_Albinoni Tomaso Albinoni (1671-1751)], [http://en.wikipedia.org/wiki/Handel George Frederick Handel (1685-1759)], and [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Alessandro Scarlatti (1660-1725)]. His Bavarian wife, [http://it.wikipedia.org/wiki/Violante_Beatrice_di_Baviera Violante Beatrice (1673-1731)], was in many ways a still more significant supporter of individual singers and instrumentalists. <br />
<br />
Having now completed eight years' of teaching at the [[Ospedale of the Pietà]] in Venice, Vivaldi shows himself to have experimented with a variety of approaches to textures and groupings of instruments. These twelve works are arranged cyclically, such that Nos. 1, 4, 7, and 10 are scored for four violins and string orchestra; Nos. 2, 5, 8, and 11 for two violins, violoncello, and string orchestra; and Nos. 3, 6, 9, and 12 for solo violin (Violino Principale) and string orchestra. Within the <i>concertino</i> groups (four violins or, alternatively, two violins and violoncello), there is further separation. The "four violins" model often involves the pairing of the instruments such that one duo imitates another. This kind of experimentation is suggested by the word <i>estro</i>, which refers to gestational properties whereby one musical passage generates the need for the next. In musical terms, the sophistication of the idea represented an enormous step forward for Vivaldi, whose first sonatas were primitive and somewhat generic by comparison. <br />
<br />
Additionally, the music was more cogent than before, the organization manifestly rational. The imaginative scoring, careful markup, and newly pungent musical affects were novelties not found in Opp. 1 or 2. If he had leaned on the familiar models of [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Arcangelo Corelli (1753-1713)] before, Vivaldi was now producing music that was novel, ambitious, and aesthetically pleasing. Largely in coincidence with this publication, Vivaldi's concerts at the Pietà began to win plaudits from a succession of visiting dignitaries from abroad. <br />
<br />
Within the context of the early concerto, Op. 3 was equally noteworthy. The now elderly Corelli had perfected the <i>concerto grosso</i> [his [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli#The_Concerti_grossi_Op._6 Op. 6] would be published only posthumously in 1714]. Vivaldi's concertos for two and four violins had some debts to these works, but his concertos for solo violin and orchestra did not have Corellian models to follow. The trumpet concertos by [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Giuseppe Torelli (1658-1709)] are an oft mentioned alternative model, but Vivaldi's skills at articulation and exhibitionism were unrivaled. The violin was capable of much greater subtlety than the trumpet. <br />
<br />
====Dissemination of Individual Works from Op. 3====<br />
The <i>Concerti</i> Op. 3 were so popular that the entire opus was reprinted in Amsterdam within a year. Other reprints followed in both London and Paris through 1751. Because of the cyclical rotation of different combinations of instruments from work to work individual pieces in Op. 3 led themselves to diverse uses. The basic organization is shown in the table. Parsed one way, it is a four-fold cycle of three works. The textures vary with the instrumentation.<br />
<br />
Several works from Opus 3 took on lives of their own. Six works (indicated by an asterisk*) were transcribed by J. S. Bach, and there are faint clues that Bach may have transcribed them all. Bach was highly sensitive to the cyclical instrumentation of Vivaldi's collection: Nos 1, 4, 7, and 10 were set for two pairs of solo violins; Nos. 2, 5, 8, and 11 for a trio of soloists (two violins and violoncello); Nos. 3, 6, 9, and 12 for principal violin, in all cases with string orchestra. As the table below shows, Bach chose the second type an organ adaptation and the third type for concertos for harpsichord and strings, while the first type served as a model for his lone concerto for four harpsichords and strings. The trio sonata, which was at its peak in the years 1700-1710, was a popular reservoir for organ transcriptions in Germany, but the other adaptations had no such currency. Concertos for four harpsichords were unknown. <br />
<br />
Wide circulation of Vivaldi's concertos was further stimulated by John Walsh's edition of Op. 3 in <i>c.</i> 1715. In this print, the order of Nos. 6-9 was altered so that these concertos became Nos. 8, 9, 6, and 7). The clavichord transcriptions of Anne Dawson include many works in Vivaldi's Opp. 3 and 4 show a further dimension of the music's adaptation. Numerous transcriptions and copies survive in Europe and North America.<br />
<br />
====CCARH Scores and Parts for Opus 3====<br />
[[File:Op3DoverCover.jpg|100px||left]]<br />
<br />
CCARH cooperated with Dover Publications Inc. in producing the scores that appear in <i>L'estro armonico: Twelve Concertos for Violins and String Orchestra, Op. 3</i>. The cover is shown below. The collection entitled <i>L'estro armonico</i> was the first title under Vivaldi's name to draw widespread attention. It is likely that some of the work had already been performed in selected gatherings. The were profusely copied, arranged, and reprinted (with numerous variants) over the next few decades. <br />
<br />
For bound paper copies, see Vivaldi, Antonio. <i>"L'Estro armonico", Op. 3 in Full Score: 12 Concertos for Violins and String Orchestra</i>, ed. Eleanor Selfridge-Field (Mineola, New York: Dover Publications; 1999). Available from Amazon [http://www.amazon.com/exec/obidos/tg/detail/-/0486406318/themefinder/002-2800507-6138416 ISBN 0-486-40631-8] and Dover [http://store.doverpublications.com/review.html?pr_page_id=0486406318 ISBN 0-486-40631-8].<br />
</ul><br />
<br />
{{VivaldiOp3PDF}}<br />
<br><br />
<br />
===Op. 4: <i>La Stravaganza: Concerti in six parts</i>===<br />
Vivaldi's violin concertos Op. 4 (announced in London on January 1, 1715) achieved a much broader penetration of the European market than any previous publication of his music. The collection, published in Amsterdam as Estienne Roger's prints Nos. 399 and 400, bore the title <i>La Stravaganza</i> (The Extravaganza), a designation popular at the time. In musical contexts it usually referred to chromatic harmonies, but in Vivaldi's case it forewarned prospective players of the challenges posed, epsecially for the principal violinist. (Up to this time, Roger had principally offered trio sonatas and concerti grossi, which were less demanding.) <br />
<br />
Op. 4 was a compendium of virtuoso techniques that were popularized by Vivaldi, who, as a performer, was known far and wide for his daring. His near-peers in this regard were violinist-composers such as Tomaso Albinoni and Lodovico Madonis, but their most demanding works appeared some years later and were less widely distributed. Op. 4 was dedicated to a Venetian nobleman, Vettor Delfin, whose family were largely engaged in military affairs. With only one exception (Op. 4, No. 7), the concertos were written in three movements. <br />
<br />
At the time Op. 4 appeared, Vivaldi had been filling holes left by the departure of [http://it.wikipedia.org/wiki/Francesco_Gasparini Francesco Gasparini (1661-1727)] at the Pietà. He was now turning his attention to motets and oratorios <i>per force</i> to bridge the gap left by Gasparini. It is therefore likely that most of these pieces were composed before the elder <i>maestro</i>'s departure. Reprints of Op. 4 appeared in 1723, 1728, and 1730, but selected individual works enjoyed independent circulation. Vivaldi had now reached the point where demand for his instrumental music exceeded the amount of time he could afford to devote to it. It may be for this reason that echoes of Op. 4 appear in a few later works by Vivaldi. Op. 7, No. 1, for example, was a first cousin of Op. 4, No. 9; myriad other variants of this set were quoted in later works. The cumulative effect was a splintering of work-identities that still confuses musicians today. Vivaldi himself adapted many of his works to suit new purposes as appropriate occasions arose. <br />
<br />
{{VivaldiOp4PDF}}<br />
<br />
===Op. 5: <i>VI Sonate/quatro à violino solo e basso e due a due violini e basso continuo</i>===<br />
Four of the six sonatas of Op. 5, published in Amsterdam (1716) as Estienne Roger's print No. 418, may have been remainders of Vivaldi's Op. 2, an opus consisting of a dozen solo violin sonatas. In Op. 5 we find four solo sonatas and trio sonatas. During the visit of the young Danish king Frederick Christian IV to Venice in the winter of 1709, a great many banquets and balls were planned. Easily half of them were canceled either by hosts or guests because many people (including the doge and one of the Republic's official hosts) died. No autograph material for this opus survives. Op. 2 had been dedicated to Frederick Christian, but Op. 5 was an orphan of sorts. It contained a mixed repertory, lacked a dedicatee, and found insufficient popularity to prompt reprints. Few works were copied in manuscript. An exception was the first movement of Op. 5, No. 6, which was included in J. B. Cartier's <i>L'Art du Violon</i> (Paris, 1798). <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 5, No. 1 || RV 18 || Sonata / V, Bc || F Major || Example<br />
|-<br />
| Op. 5, No. 2 || RV 30 || Sonata / V, Bc || A Major || Example<br />
|-<br />
| Op. 5, No. 3 || RV 33 || Sonata / V, Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 4 || RV 35 || Sonata / V, Bc || B Minor || Example<br />
|-<br />
| Op. 5, No. 5 || RV 76 || Sonata / V1, V2, Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 6 || RV 72 || Sonata / V1, V2, Bc || G Minor || Example<br />
|}<br />
<br />
===Op. 6: <i>VI Concerti à cinque strumenti: 3 violini, alto viola, e basso continuo</i>===<br />
The six concertos for violin and strings of Op. 6, published in Amsterdam in 1716-1717 by Jeanne Roger (as her firm's print No. 452) represent both a continuation and a departure. The instrumental requirements are identical to those of Op. 4: they require a principal violin and a small string orchestra. This short collection could have served as a supplement to Op. 4, given the pattern set by Opp. 2 and 5 (another short set). The absence of a dedicatee and sundry details of the music suggest that Vivaldi did not actively seek this publication and that the print was therefore unauthorized. Mme. Roger heralded Vivaldi's titles as <i>maestro di violino</i> and <i>maestro di concerti</i> at the Pietà. <br />
<br />
Musically, five of the six works are in minor keys. Again forming a parallel with Op. 5, it was not followed by myriad other editions, although Le Cène brought out one (undated) reprint.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 6, No. 1 || RV 324 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 2 || RV 259 || Converto / VPr; V1 V2 Va Vc Org || C Minor || Example<br />
|-<br />
| Op. 6, No. 3 || RV 318 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 4 || RV 216 || Concerto / VPr; V1 V2 Va Vc Org || D Major || Example<br />
|-<br />
| Op. 6, No. 5 || RV 280 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || Example<br />
|-<br />
| Op. 6, No. 6 || RV 239 || Concerto / VPr; V1 V2 Va Vc Org || D Minor || Example<br />
|}<br />
<br />
===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===<br />
<br />
Vivsaldi's 12 concertos <i>a 5</i> (meaning three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for the solo episodes of the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained three movements. One can see that Vivaldi's idea of concerto had evolved considerably over a decade. The oboe arrangements of Nos. 1 and No. 7, as well as No. 9 (reset for oboe in a later opus) are now considered spurious. <br />
<br />
As scores passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his concertos began to take on a life of their own. No. 1 was revised by Johann Pisendel (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden Hofkapelle. <br />
No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro." No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in Walsh & Hare's anthology <i>Select Harmony</i> (1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work incudes a written cadanza. It was also transcribed by J. S. Bach for organ as BWV 594. Parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 7, No. 1 || RV 465 || Concerto / Ob (VPr) V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 143 || Example<br />
|-<br />
| Op. 7, No. 2 || RV 188 || Concerto / VPr; V1 V2 Va Vc Org || C Major || || Example<br />
|-<br />
| Op. 7, No. 3 || RV 326 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || RV 370 || Example<br />
|-<br />
| Op. 7, No. 4 || RV 354 || Concerto / VPr; V1 V2 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 7, No. 5 || RV 285a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 285 || Example<br />
|-<br />
| Op. 7, No. 6 || RV 374 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 7, No. 7 || RV 464 || Concerto / Ob (VPr) V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 142 || Example<br />
|-<br />
| Op. 7, No. 8 || RV 299 || Concerto / VPr; V1 V2 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 7, No. 9 || RV 373 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 153 || Example<br />
|-<br />
| Op. 7, No. 10 || RV 294a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 294 || Example<br />
|-<br />
| Op. 7, No. 11 || RV 208a || Concerto / VPr; V1 V2 Va Vc Org || D Major || BWV 594 (organ) || Example<br />
|-<br />
| Op. 7, No. 12 || RV 214 || Concerto / VPr; V1 V2 Va Vc Org || D Major || || Example<br />
|}<br />
<br />
===Op. 8: <i>Il cimento dell'armonia e dell'invenzione: Concerti a quattro e cinque</i>===<br />
Vivaldi's most famous opus was published in Amsterdam by Michel Charles Le Cène in 1725. It is clear, though, that various portions of sundry works had been written earlier. What was perhaps new was the formalization of the scheme, complete with the texts of the sonnets with which they were coordinated, of the first four concertos--The Four Seasons. These works, and their cyclical organization, captured the imagination of many and led to a "Four Seasons" industry of arrangements performances that extends to the current day. <br />
<br />
Unlike other opuses that postdated Vivaldi's move to Mantua, this one resumed the practice of dedicating the collection to a nobleman, in this case Venceslas, count of Morzin (also Morcin, spelled Marzin in the print itself). (Two concertos known only in manuscript, RV 449 and 496, were also dedicated to the count. <br />
He was Bohemian with townhouses in Prague and Vienna. He was an occasional patron of Venetian opera. Prague, the capital of Bohemia, was a thriving city was rapidly developing enterprises focused on opera and on the development of string music. One can see how poetic justice prevailed in this dedication: Bohemians not only loved music but were happy to master its component parts. <br />
<br />
This opus was more popular in France than anywhere else. Parisian reprints issued from the presses of Madame Boivin (c. 1739, 1743, 1748). Manuscripts were widely circulated. Rearrangements of portions of the opus were opus also proliferated. In Dresden, the orchestration of some works was enriched by Johann Pisendel, who also elaborated some of the articulation. <br />
<br />
In the works as a set, major keys predominate. Nos. 7, 9, AND 11 are known in alternative versions. The final of movement of Op. 8, No. 11 presents a particularly complex web of revisions to the alternation of tutti and solo. <br />
<br />
====CCARH Parts for Op. 8====<br />
The following parts for Antonio Vivaldi's Op.8 concerti accompany the full score available from Dover Publications:<br />
<br />
* Vivaldi, Antonio. "The Four Seasons" and Other Violin Concertos in Full Score; Opus 8, Complete. Ed. by Eleanor Selfridge-Field. Mineola, New York: Dover Publications; 1995. ISBN 0-486-28638-X.<br />
<br />
<center><br />
{{VivaldiOp8PDFTable}}<br />
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<br />
===Op. 9: <i>La cetra. Concerti</i>===<br />
Vivaldi's Concertos Op. 9, published in Amsterdam by Michel Charles Le Cène in Vols. 533 and 534 (datable from 1727), have the distinction of having been dedicated to the emperor Charles VI. The two met two years later in Trieste, where the emperor was more enraptured by Vivaldi's music and the intelligence with which he discussed it than with the diplomatic matters at hand. Op. 9 is easily confused with a contemporary set of twelve unpublished concertos for violin also called "La Cetra," that Vivaldi presented to the Emperor during his 1729 visit, as part of a diplomatic delegation, to Trieste. <br />
<br />
The works of Op. 9 were not so widely circulated as those of other recent volumes of Vivaldi's music, and a few were not new. (Three of the works were known in alternative versions.) The popularity of the "Four Seasons" concertos (Op. 8, Nos. 1-4) blinded the public to Vivaldi's future prints, while Vivaldi's own interest in publishing instrumental music was also in decline after the appearance of this collection. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 9, No. 1 || RV 181a || [VPr]; V1 V2 V3 Va Vc Org || C Major || RV 180 || Example<br />
|-<br />
| Op. 9, No. 2 || RV 375 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 3 || RV 334 || [VPr]; V1 V2 V3 Va Vc Org || G Minor || || Example<br />
|-<br />
| Op. 9, No. 4 || RV 263a || [VPr]; V1 V2 V3 Va Vc Org || E Major || RV 263 || Example<br />
|-<br />
| Op. 9, No. 5 || RV 358 || [VPr]; V1 V2 V3 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 9, No. 6 || RV 348 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 7 || RV 359 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 8 || RV 238 || [VPr]; V1 V2 V3 Va Vc Org || D Minor || || Example<br />
|-<br />
| Op. 9, No. 9 || RV 530 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 10 || RV 300 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 9, No. 11 || RV 198a || [VPr]; V1 V2 V3 Va Vc Org || C Minor || RV 198 || Example<br />
|-<br />
| Op. 9, No. 12 || RV 391 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|}<br />
<br />
The part for <i>Violino Principale</i> is lost, although a manuscript part-book for it survives for a few works.<br />
<br />
===Op. 10: <i>VI Concerti a flauto traverso</i>===<br />
Six Concertos for Flute and String Orchestra, Op. 10; Related Variants<br />
<br />
As published, Vivaldi's Opus 10 is a straightforward collection of concertos for flute and string orchestra. <br />
Most works which originally called for obbligato flutes seem to have originated during the early 1720s, perhaps reflecting opportunities that Vivaldi encountered in Rome, where he stayed intermittently between c. 1719 and 1724. Although the transverse flute was then little known in Italy, the availability of an excellent player is was essential for the execution of several of his works for it. <br />
<br />
Opus 10 appeared in 1729, in rough coincidence with Vivaldi's violin concertos Opp. 11 and 12, but most of the work are likely to have composed years earlier. All three volumes were published in Amsterdam. Although published set was designed for a market oriented towards a standardized, relatively neutral instrumentation, the origins of the individual works were heterogeneous. The indications suggested by the related concertos listed on the lower half of the chart do not include subtle differences of instrumental alternatives and/or pairings--for example, an independent oboe part vs. an oboe part duplicating a second violin, a separate cello part vs. an unspecified Basso, and so forth. These are among the kinds of details that have necessitated separate listings for works that are musically similar. One manuscript source for No. 3 is scored for recorder rather than violin. <br />
<br />
The transverse flute and the recorder were both associated with a certain freedom of timbral choice. The so-called chamber concertos (RV 570, 90, and 101) for flute (or recorder), oboe, bassoon, violin, and bass can be understood to signify this sense of free play, rather than to represent a sub-genre cast in concrete. Although Vivaldi's chamber concertos had few analogues during Vivaldi's lifetime, they paved the way to a rich chamber repertory in the later eighteenth century.<br />
<br />
<center><br />
{{VivaldiOpl0PDFTable}}<br />
</center><br />
<br />
The first three works are the best known ones of the collection, but their nicknames accrued over time. Their programmatic allusions are largely confirmed in associated manuscripts. Storms at sea and phantoms of the night (the images cultivated by the first two pieces) were staples of opera staging at Venice's Teatro Sant'Angelo, the Venetian theater with which Vivaldi and his father were most consistently associated. Both played a prominent role in Venetian scene paintings contemporary with Vivaldi. <br />
<br />
The representation of sleep in the fourth movement of Op 10, No. 2, is illustrative of a fascination with dreams and the supernatural that was probed cautiously on the stage because of the pervasive scrutiny of religious censors. However, the dramatization of darkness fed Sant'Angelo's penchant for grottoes and grotesque scenes. It is darkness that the bassoon invokes in the manuscript RV 501 (the loose analogue of No. 2), where the the key is Bb Major rather than G Minor.<br />
<br />
Vivaldi's depictions of bird-calls (in Op. 10, No. 3 a bullfinch) were prevalent not only in his concertos but also in his operas, and in dozens of works by other composers of the time. Also elsewhere they often suggested the formal gardens that were so much promoted by the aristocracy, in Vivaldi's case they are more often a natural depiction of bucolic habitats consistent with the imagery of Arcadian shepherds than of programmed landscapes abroad. <br />
<br />
The <i>sopranino</i> recorder concerto RV 444 is a unique work among Vivaldi's <i>oeuvre</i>, although it could easily have been adapted to a different soloist. It would have suited a virtuoso of considerable renown.<br />
<br />
The parts provided here correspond to the Dover Publication entitled <i>Six Concertos for Flute and String Orchestra, Op. 10, and Related Variants</i>.<br />
<br />
===Op. 11: <i>Sei concerti</i>===<br />
In Opp. 11 and 12 Vivaldi returned to the practice of publishing six works at a time. His earlier 12-work prints are usually presented as two books of six, but there were practical benefits to grouping the works into two sets. Opp. 11 and 12 appear to be cut from the same cloth and may have been intended as a single publication. They appeared with consecutive print numbers (Nos. 545, 546) from presses of Michel Charles Le Cène in 1729. In comparison to all of Vivaldi's music printed since 1711 they were poorly circulated.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Related works !! Score <br />
|-<br />
| Op. 11, No. 1 || RV 207 || Concerto / VPr; V1 V2 Va Vc Bc || D Major || || Example<br />
|-<br />
| Op. 11, No. 2 || RV 277 || Concerto / VPr; V1 V2 Va Vc Bc || E Minor || Nicknamed "Il Favorito" || Example<br />
|-<br />
| Op. 11, No. 3 || RV 336 || Concerto / VPr; V1 V2 Va Vc Bc || A Major || || Example <br />
|-<br />
| Op. 11, No. 4 || RV 308 || Concerto / VPr; V1 V2 Va Vc Bc || G Major || || Example <br />
|-<br />
| Op. 11, No. 5 || RV 202 || Concerto / VPr; V1 V2 Va Vc Bc || G Minor || || Example <br />
|-<br />
| Op. 11, No. 6 || RV 260 || Concerto / VPr; V1 V2 Va Vc Bc || C Minor || Op. 9, No. 3 (RV 334) || Example<br />
|}<br />
<br />
===Op. 12: <i>Sei concerti</i>===<br />
Vivaldi's six concertos Op. 12 (1729) represent the final printed publication of his music. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 12, No. 1 || RV 317 || Concerto / VPr V1 V2 Va Vc Bc || G Minor || Example<br />
|-<br />
| Op. 12, No. 2 || RV 244 || Concerto / VPr V1 V2 Va Vc Bc || D Minor || Example<br />
|-<br />
| Op. 12, No. 3 || RV 124 || Concerto / VPr V1 V2 Va Vc Bc || D Major || Example<br />
|-<br />
| Op. 12, No. 4 || RV 173 || Concerto / VPr V1 V2 Va Vc Bc || C Major || Example<br />
|-<br />
| Op. 12, No. 5 || RV 379 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 12, No. 6 || RV 361 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|}<br />
<br />
==Unpublished instrumental works==<br />
<br />
The number of Vivaldi's unpublished instrumental pieces greatly exceeds those that were printed in the composer's lifetime. They generally follow the same lines and populate the same genres of sonata and concerto. The two most conspicuous differences between the published and unpublished works are that dates of composition are more difficult to pin down for the manuscript works and nearly all of the works with obbligato wind parts were never published. <br />
<br />
Why were works with obbligato winds not published in Vivaldi's time? The demand for works with wind parts was much lower, while learning to play the violin was a popular activity among noblemen. Numerous accounts of special occasions note the addition of local amateur players to orchestras for serenatas and sinfonias. Learning to play a bowed instrument conferred a certain prestige on the fledgling performer. <br />
<br />
In Italy wind instruments, which were not readily available, were required in music for particular kinds of ceremonies or scenes in operas. Nasal reeds, such as the oboe, were used in funeral music or to signify impending doom. Recorders and cross-flutes were associated with peasants and with dancing. Bassoons could signify the underworld. Among brasses, trumpets had been used discreetly to represent military advances and triumphs since before Vivaldi was born, but their appearances were few. <br />
<br />
Vivaldi's interactions with musicians from north of the Alps provided him with incentives to score parts for oboes, bassoons, recorders, cross-flutes, and other novel instruments. He also adapted some of his concertos with a wind instrument instead of a principal violin. Op. 10 is the only print that shows off his wind interests here, but the menu of works related to that set of six (grouped here with Op. 10) shows the latitude (or lack thereof) in adaptations. <br />
<br />
Yet in Italy the idea of using these different timbres together with strings was one that remained somewhat foreign at the end of Vivaldi's life. In his operas, winds were usually deployed in pairs. Quite often their use was limited to opening performances, when entrance fees were higher. Because their players were paid one night at a time, the wind parts did not always survive. Modern editions represent optimal versions of the work at hand, but the fact that many wind parts have only one or two solo episodes in an entire work and otherwise double string parts allows for some latitude in interpretation and some accommodation of strained circumstances.<br />
<br />
=Oratorios=<br />
== [http://wiki.ccarh.org/wiki/Juditha_triumphans <i>Juditha triumphans</i>] ==<br />
<br />
Click title to see separate webpage.<br />
<br />
= References =</div>Edchttps://wiki.ccarh.org/index.php?title=MuseData:_Antonio_Vivaldi&diff=10471MuseData: Antonio Vivaldi2021-03-24T14:39:03Z<p>Edc: /* Op. 4: La Stravaganza: Concerti in six parts */</p>
<hr />
<div>__TOC__<br />
<br />
<br />
==Published Sonatas and Concertos==<br />
Antonio Lucio Vivaldi (1678-1741) is best known to modern audiences for his instrumental music. Like most composers of his time, Vivaldi composed in the formal medium of the sonata in his earliest publications (from 1703). His reputation was propelled by his concertos, the earliest of which appeared in 1711. This is still the genre with which he is most widely associated. <br />
<br />
===Op. 1: <i>Suonate da camera a trè, due violini e violone o cembalo</i>===<br />
Vivaldi's twelve sonatas Op. 1 are presumed to have been published prior to his appointment as <i>maestro di violino</i> at the Ospedale della Pietà, Venice, because he is described without reference to the institution as "<i>musico di violino, professore veneto</i>" (a violinist and teacher in the Veneto). The works were dedicated to the count Annibale Gambara, one of five sons in a big family of noblemen from Brescia (the city in which Vivaldi's father was born), a provincial capital in the western Veneto. The Gambara also had a modest palace on the Grand Canal in the Venetian parish of San Barnabà. <br />
<br />
[[File:Op1-12_Folia_V1.png|400px|thumb|center|Excerpt from the Violino primo (first violin) part of the Folìa of Vivaldi's Sonata Op. 1, No. 12 (Venice: Giuseppe Sala, 1705). Image from the partbook in the Conservatorio Benedetto Marcello, Venice. Used by permission.]]<br />
<br />
These trio sonatas contained various numbers of movements (3 to 6), most in binary form. The four outer works (Nos. 1, 2, 11, and 12) were in minor keys, the others in major ones. The best known work is Op. 1, No. 12, which features an ambitious <i>folìa</i> movement at its conclusion. The earliest surviving print of Op. 1 was published in Venice (G. Sala) in 1705. The collection was reprinted in Amsterdam in 1723 (E. Roger, as print No. 363), in Paris in 1759 (Le Clerc), and in Austria in 1759. Many movements are brief and musically simple, so much so that were one to judge from this opus alone, one would not have anticipated the kind of success that Vivaldi later found.<br />
<br />
{{VivaldiOp1PDF}}<br />
<br />
===Op. 2: <i>Sonate a violino e basso per il cembalo</i>===<br />
[[File:Carlevaris_FredIV_viaGetty-Google.png|575px|thumb|left|Detail of Luca Carlevaris's depiction of the regatta held on the Grand Canal, Venice, for Frederick IV of Denmark (1709). Reproduction of public-domain image from the Getty Museum as shown in the Google Art project.]]<br />
<br />
The trio sonata, over which Vivaldi had exhibited his command in Op. 1, had been the most prevalent instrumental genre of the 1690s, but in the first decade of the eighteenth century interest began to gravitate towards the "solo" sonata--a work in several movements for one ensemble instrument and a basso continuo. In this 1709 collection by the Venetian publisher Antonio Bortoli, Vivaldi pursued a more expressive vein of musical enticement. The opus was dedicated to the visiting young monarch Frederick IV of Denmark. As prince of Schleswig-Holstein, his extended stay drew much artistic attention. No fewer than three operas were dedicated to him. <br />
<br />
Seven of these sonatas were cast in minor keys. The movement structure remained variable. Vivaldi was moving in the direction of fewer movements but with greater musical elaboration within each movement. He was still described as <i>musico di violino</i> but also as <i>maestro dei concerti</i> (concertmaster) of the Ospedale della Pietà. <br />
<br />
{{VivaldiOp2PDF}}<br />
<br />
Like Op. 1, Op. 2 had a long afterlife in both reprints and manuscript copies, mainly abroad. These included the publications of E. Roger (Amsterdam, 1712) and several editions (1721-1730) by I. Walsh J. Young (London).<br />
<br />
===Op. 3: <i>L'estro armonico: Concerti</i>=== <br />
[[File:Ferdinando_de'_Medici_c1687_Cassana.jpg|300px|thumb|right|Portrait of Ferdinando de' Medici, grand prince of Tuscany, in c. 1687 by the Venetian painter Niccolò Cassana. Wikimedia Commons.]]<br />
<br />
The first concertos by Vivaldi to reach print were those of Opus 3 (Amsterdam, 1711). With them Vivaldi suddenly became a celebrity, for although he was well known as a virtuoso, his previously published works had found a relatively modest reception. Vivaldi's titles remained as they were in Op. 2. Most composers described the contents of a publication in sufficient detail to indicate instrumentation, but Vivaldi settled for the word "Concerti" in order to allow space for the titles of his patron, the Grand Prince of Tuscany, [http://it.wikipedia.org/wiki/Ferdinando_de%27_Medici#Teatro Ferdinando III (1663-1713)]. The Grand Prince, who led a flamboyant life, enjoyed his visits to Venice, where however he contracted syphilis in 1696. This led to his premature death and changed the course of Tuscan (and imperial) history. Meanwhile, however, his patronage of music benefited many composers of the time including [http://en.wikipedia.org/wiki/Tomaso_Albinoni Tomaso Albinoni (1671-1751)], [http://en.wikipedia.org/wiki/Handel George Frederick Handel (1685-1759)], and [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Alessandro Scarlatti (1660-1725)]. His Bavarian wife, [http://it.wikipedia.org/wiki/Violante_Beatrice_di_Baviera Violante Beatrice (1673-1731)], was in many ways a still more significant supporter of individual singers and instrumentalists. <br />
<br />
Having now completed eight years' of teaching at the [[Ospedale of the Pietà]] in Venice, Vivaldi shows himself to have experimented with a variety of approaches to textures and groupings of instruments. These twelve works are arranged cyclically, such that Nos. 1, 4, 7, and 10 are scored for four violins and string orchestra; Nos. 2, 5, 8, and 11 for two violins, violoncello, and string orchestra; and Nos. 3, 6, 9, and 12 for solo violin (Violino Principale) and string orchestra. Within the <i>concertino</i> groups (four violins or, alternatively, two violins and violoncello), there is further separation. The "four violins" model often involves the pairing of the instruments such that one duo imitates another. This kind of experimentation is suggested by the word <i>estro</i>, which refers to gestational properties whereby one musical passage generates the need for the next. In musical terms, the sophistication of the idea represented an enormous step forward for Vivaldi, whose first sonatas were primitive and somewhat generic by comparison. <br />
<br />
Additionally, the music was more cogent than before, the organization manifestly rational. The imaginative scoring, careful markup, and newly pungent musical affects were novelties not found in Opp. 1 or 2. If he had leaned on the familiar models of [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Arcangelo Corelli (1753-1713)] before, Vivaldi was now producing music that was novel, ambitious, and aesthetically pleasing. Largely in coincidence with this publication, Vivaldi's concerts at the Pietà began to win plaudits from a succession of visiting dignitaries from abroad. <br />
<br />
Within the context of the early concerto, Op. 3 was equally noteworthy. The now elderly Corelli had perfected the <i>concerto grosso</i> [his [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli#The_Concerti_grossi_Op._6 Op. 6] would be published only posthumously in 1714]. Vivaldi's concertos for two and four violins had some debts to these works, but his concertos for solo violin and orchestra did not have Corellian models to follow. The trumpet concertos by [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Giuseppe Torelli (1658-1709)] are an oft mentioned alternative model, but Vivaldi's skills at articulation and exhibitionism were unrivaled. The violin was capable of much greater subtlety than the trumpet. <br />
<br />
====Dissemination of Individual Works from Op. 3====<br />
The <i>Concerti</i> Op. 3 were so popular that the entire opus was reprinted in Amsterdam within a year. Other reprints followed in both London and Paris through 1751. Because of the cyclical rotation of different combinations of instruments from work to work individual pieces in Op. 3 led themselves to diverse uses. The basic organization is shown in the table. Parsed one way, it is a four-fold cycle of three works. The textures vary with the instrumentation.<br />
<br />
Several works from Opus 3 took on lives of their own. Six works (indicated by an asterisk*) were transcribed by J. S. Bach, and there are faint clues that Bach may have transcribed them all. Bach was highly sensitive to the cyclical instrumentation of Vivaldi's collection: Nos 1, 4, 7, and 10 were set for two pairs of solo violins; Nos. 2, 5, 8, and 11 for a trio of soloists (two violins and violoncello); Nos. 3, 6, 9, and 12 for principal violin, in all cases with string orchestra. As the table below shows, Bach chose the second type an organ adaptation and the third type for concertos for harpsichord and strings, while the first type served as a model for his lone concerto for four harpsichords and strings. The trio sonata, which was at its peak in the years 1700-1710, was a popular reservoir for organ transcriptions in Germany, but the other adaptations had no such currency. Concertos for four harpsichords were unknown. <br />
<br />
Wide circulation of Vivaldi's concertos was further stimulated by John Walsh's edition of Op. 3 in <i>c.</i> 1715. In this print, the order of Nos. 6-9 was altered so that these concertos became Nos. 8, 9, 6, and 7). The clavichord transcriptions of Anne Dawson include many works in Vivaldi's Opp. 3 and 4 show a further dimension of the music's adaptation. Numerous transcriptions and copies survive in Europe and North America.<br />
<br />
====CCARH Scores and Parts for Opus 3====<br />
[[File:Op3DoverCover.jpg|100px||left]]<br />
<br />
CCARH cooperated with Dover Publications Inc. in producing the scores that appear in <i>L'estro armonico: Twelve Concertos for Violins and String Orchestra, Op. 3</i>. The cover is shown below. The collection entitled <i>L'estro armonico</i> was the first title under Vivaldi's name to draw widespread attention. It is likely that some of the work had already been performed in selected gatherings. The were profusely copied, arranged, and reprinted (with numerous variants) over the next few decades. <br />
<br />
For bound paper copies, see Vivaldi, Antonio. <i>"L'Estro armonico", Op. 3 in Full Score: 12 Concertos for Violins and String Orchestra</i>, ed. Eleanor Selfridge-Field (Mineola, New York: Dover Publications; 1999). Available from Amazon [http://www.amazon.com/exec/obidos/tg/detail/-/0486406318/themefinder/002-2800507-6138416 ISBN 0-486-40631-8] and Dover [http://store.doverpublications.com/review.html?pr_page_id=0486406318 ISBN 0-486-40631-8].<br />
</ul><br />
<br />
{{VivaldiOp3PDF}}<br />
<br><br />
<br />
===Op. 4: <i>La Stravaganza: Concerti in six parts</i>===<br />
Vivaldi's violin concertos Op. 4 (announced in London on January 1, 1715) achieved a much broader penetration of the European market than any previous publication of his music. The collection, published in Amsterdam as Estienne Roger's prints Nos. 399 and 400, bore the title <i>La Stravaganza</i> (The Extravaganza), a designation popular at the time. In musical contexts it usually referred to chromatic harmonies, but in Vivaldi's case it forewarned prospective players of the challenges posed, epsecially for the principal violinist. (Up to this time, Roger had principally offered trio sonatas and concerti grossi, which were less demanding.) <br />
<br />
Op. 4 was a compendium of virtuoso techniques that were popularized by Vivaldi, who, as a performer, was known far and wide for his daring. His near-peers in this regard were violinist-composers such as Tomaso Albinoni and Lodovico Madonis, but their most demanding works appeared some years later and were less widely distributed. Op. 4 was dedicated to a Venetian nobleman, Vettor Delfin, whose family were largely engaged in military affairs. With only one exception (Op. 4, No. 7), the concertos were written in three movements. <br />
<br />
At the time Op. 4 appeared, Vivaldi had been filling holes left by the departure of [http://it.wikipedia.org/wiki/Francesco_Gasparini Francesco Gasparini (1661-1727)] at the Pietà. He was now turning his attention to motets and oratorios <i>per force</i> to bridge the gap left by Gasparini. It is therefore likely that most of these pieces were composed before the elder <i>maestro</i>'s departure. Reprints of Op. 4 appeared in 1723, 1728, and 1730, but selected individual works enjoyed independent circulation. Vivaldi had now reached the point where demand for his instrumental music exceeded the amount of time he could afford to devote to it. It may be for this reason that echoes of Op. 4 appear in a few later works by Vivaldi. Op. 7, No. 1, for example, was a first cousin of Op. 4, No. 9; myriad other variants of this set were quoted in later works. The cumulative effect was a splintering of work-identities that still confuses musicians today. Vivaldi himself adapted many of his works to suit new purposes as appropriate occasions arose. <br />
<br />
{{VivaldiOp4PDF}}<br />
<br />
===Op. 5: <i>VI Sonate/quatro à violino solo e basso e due a due violini e basso continuo</i>===<br />
Four of the six sonatas of Op. 5, published in Amsterdam (1716) as Estienne Roger's print No. 418, may have been remainders of Vivaldi's Op. 2, an opus consisting of a dozen solo violin sonatas. In Op. 5 we find four solo sonatas and trio sonatas. During the visit of the young Danish king Frederick Christian IV to Venice in the winter of 1709, a great many banquets and balls were planned. Easily half of them were canceled either by hosts or guests because many people (including the doge and one of the Republic's official hosts) died. No autograph material for this opus survives. Op. 2 had been dedicated to Frederick Christian, but Op. 5 was an orphan of sorts. It contained a mixed repertory, lacked a dedicatee, and found insufficient popularity to prompt reprints. Few works were copied in manuscript. An exception was the first movement of Op. 5, No. 6, which was included in J. B. Cartier's <i>L'Art du Violon</i> (Paris, 1798). <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 5, No. 1 || RV 18 || Sonata / V, BC || F Major || Example<br />
|-<br />
| Op. 5, No. 2 || RV 30 || Sonata / V, BC || A Major || Example<br />
|-<br />
| Op. 5, No. 3 || RV 33 || Sonata / V, BC || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 4 || RV 35 || Sonata / V, BC || B Minor || Example<br />
|-<br />
| Op. 5, No. 5 || RV 76 || Sonata / V1, V2, BC || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 6 || RV 72 || Sonata / V1, V2, BC || G Minor || Example<br />
|}<br />
<br />
===Op. 6: <i>VI Concerti à cinque strumenti: 3 violini, alto viola, e basso continuo</i>===<br />
The six concertos for violin and strings of Op. 6, published in Amsterdam in 1716-1717 by Jeanne Roger (as her firm's print No. 452) represent both a continuation and a departure. The instrumental requirements are identical to those of Op. 4: they require a principal violin and a small string orchestra. This short collection could have served as a supplement to Op. 4, given the pattern set by Opp. 2 and 5 (another short set). The absence of a dedicatee and sundry details of the music suggest that Vivaldi did not actively seek this publication and that the print was therefore unauthorized. Mme. Roger heralded Vivaldi's titles as <i>maestro di violino</i> and <i>maestro di concerti</i> at the Pietà. <br />
<br />
Musically, five of the six works are in minor keys. Again forming a parallel with Op. 5, it was not followed by myriad other editions, although Le Cène brought out one (undated) reprint.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 6, No. 1 || RV 324 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 2 || RV 259 || Converto / VPr; V1 V2 Va Vc Org || C Minor || Example<br />
|-<br />
| Op. 6, No. 3 || RV 318 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 4 || RV 216 || Concerto / VPr; V1 V2 Va Vc Org || D Major || Example<br />
|-<br />
| Op. 6, No. 5 || RV 280 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || Example<br />
|-<br />
| Op. 6, No. 6 || RV 239 || Concerto / VPr; V1 V2 Va Vc Org || D Minor || Example<br />
|}<br />
<br />
===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===<br />
<br />
Vivsaldi's 12 concertos <i>a 5</i> (meaning three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for the solo episodes of the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained three movements. One can see that Vivaldi's idea of concerto had evolved considerably over a decade. The oboe arrangements of Nos. 1 and No. 7, as well as No. 9 (reset for oboe in a later opus) are now considered spurious. <br />
<br />
As scores passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his concertos began to take on a life of their own. No. 1 was revised by Johann Pisendel (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden Hofkapelle. <br />
No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro." No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in Walsh & Hare's anthology <i>Select Harmony</i> (1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work incudes a written cadanza. It was also transcribed by J. S. Bach for organ as BWV 594. Parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 7, No. 1 || RV 465 || Concerto / Ob (VPr) V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 143 || Example<br />
|-<br />
| Op. 7, No. 2 || RV 188 || Concerto / VPr; V1 V2 Va Vc Org || C Major || || Example<br />
|-<br />
| Op. 7, No. 3 || RV 326 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || RV 370 || Example<br />
|-<br />
| Op. 7, No. 4 || RV 354 || Concerto / VPr; V1 V2 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 7, No. 5 || RV 285a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 285 || Example<br />
|-<br />
| Op. 7, No. 6 || RV 374 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 7, No. 7 || RV 464 || Concerto / Ob (VPr) V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 142 || Example<br />
|-<br />
| Op. 7, No. 8 || RV 299 || Concerto / VPr; V1 V2 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 7, No. 9 || RV 373 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 153 || Example<br />
|-<br />
| Op. 7, No. 10 || RV 294a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 294 || Example<br />
|-<br />
| Op. 7, No. 11 || RV 208a || Concerto / VPr; V1 V2 Va Vc Org || D Major || BWV 594 (organ) || Example<br />
|-<br />
| Op. 7, No. 12 || RV 214 || Concerto / VPr; V1 V2 Va Vc Org || D Major || || Example<br />
|}<br />
<br />
===Op. 8: <i>Il cimento dell'armonia e dell'invenzione: Concerti a quattro e cinque</i>===<br />
Vivaldi's most famous opus was published in Amsterdam by Michel Charles Le Cène in 1725. It is clear, though, that various portions of sundry works had been written earlier. What was perhaps new was the formalization of the scheme, complete with the texts of the sonnets with which they were coordinated, of the first four concertos--The Four Seasons. These works, and their cyclical organization, captured the imagination of many and led to a "Four Seasons" industry of arrangements performances that extends to the current day. <br />
<br />
Unlike other opuses that postdated Vivaldi's move to Mantua, this one resumed the practice of dedicating the collection to a nobleman, in this case Venceslas, count of Morzin (also Morcin, spelled Marzin in the print itself). (Two concertos known only in manuscript, RV 449 and 496, were also dedicated to the count. <br />
He was Bohemian with townhouses in Prague and Vienna. He was an occasional patron of Venetian opera. Prague, the capital of Bohemia, was a thriving city was rapidly developing enterprises focused on opera and on the development of string music. One can see how poetic justice prevailed in this dedication: Bohemians not only loved music but were happy to master its component parts. <br />
<br />
This opus was more popular in France than anywhere else. Parisian reprints issued from the presses of Madame Boivin (c. 1739, 1743, 1748). Manuscripts were widely circulated. Rearrangements of portions of the opus were opus also proliferated. In Dresden, the orchestration of some works was enriched by Johann Pisendel, who also elaborated some of the articulation. <br />
<br />
In the works as a set, major keys predominate. Nos. 7, 9, AND 11 are known in alternative versions. The final of movement of Op. 8, No. 11 presents a particularly complex web of revisions to the alternation of tutti and solo. <br />
<br />
====CCARH Parts for Op. 8====<br />
The following parts for Antonio Vivaldi's Op.8 concerti accompany the full score available from Dover Publications:<br />
<br />
* Vivaldi, Antonio. "The Four Seasons" and Other Violin Concertos in Full Score; Opus 8, Complete. Ed. by Eleanor Selfridge-Field. Mineola, New York: Dover Publications; 1995. ISBN 0-486-28638-X.<br />
<br />
<center><br />
{{VivaldiOp8PDFTable}}<br />
</center><br />
<br><br />
<br />
===Op. 9: <i>La cetra. Concerti</i>===<br />
Vivaldi's Concertos Op. 9, published in Amsterdam by Michel Charles Le Cène in Vols. 533 and 534 (datable from 1727), have the distinction of having been dedicated to the emperor Charles VI. The two met two years later in Trieste, where the emperor was more enraptured by Vivaldi's music and the intelligence with which he discussed it than with the diplomatic matters at hand. Op. 9 is easily confused with a contemporary set of twelve unpublished concertos for violin also called "La Cetra," that Vivaldi presented to the Emperor during his 1729 visit, as part of a diplomatic delegation, to Trieste. <br />
<br />
The works of Op. 9 were not so widely circulated as those of other recent volumes of Vivaldi's music, and a few were not new. (Three of the works were known in alternative versions.) The popularity of the "Four Seasons" concertos (Op. 8, Nos. 1-4) blinded the public to Vivaldi's future prints, while Vivaldi's own interest in publishing instrumental music was also in decline after the appearance of this collection. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 9, No. 1 || RV 181a || [VPr]; V1 V2 V3 Va Vc Org || C Major || RV 180 || Example<br />
|-<br />
| Op. 9, No. 2 || RV 375 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 3 || RV 334 || [VPr]; V1 V2 V3 Va Vc Org || G Minor || || Example<br />
|-<br />
| Op. 9, No. 4 || RV 263a || [VPr]; V1 V2 V3 Va Vc Org || E Major || RV 263 || Example<br />
|-<br />
| Op. 9, No. 5 || RV 358 || [VPr]; V1 V2 V3 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 9, No. 6 || RV 348 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 7 || RV 359 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 8 || RV 238 || [VPr]; V1 V2 V3 Va Vc Org || D Minor || || Example<br />
|-<br />
| Op. 9, No. 9 || RV 530 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 10 || RV 300 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 9, No. 11 || RV 198a || [VPr]; V1 V2 V3 Va Vc Org || C Minor || RV 198 || Example<br />
|-<br />
| Op. 9, No. 12 || RV 391 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|}<br />
<br />
The part for <i>Violino Principale</i> is lost, although a manuscript part-book for it survives for a few works.<br />
<br />
===Op. 10: <i>VI Concerti a flauto traverso</i>===<br />
Six Concertos for Flute and String Orchestra, Op. 10; Related Variants<br />
<br />
As published, Vivaldi's Opus 10 is a straightforward collection of concertos for flute and string orchestra. <br />
Most works which originally called for obbligato flutes seem to have originated during the early 1720s, perhaps reflecting opportunities that Vivaldi encountered in Rome, where he stayed intermittently between c. 1719 and 1724. Although the transverse flute was then little known in Italy, the availability of an excellent player is was essential for the execution of several of his works for it. <br />
<br />
Opus 10 appeared in 1729, in rough coincidence with Vivaldi's violin concertos Opp. 11 and 12, but most of the work are likely to have composed years earlier. All three volumes were published in Amsterdam. Although published set was designed for a market oriented towards a standardized, relatively neutral instrumentation, the origins of the individual works were heterogeneous. The indications suggested by the related concertos listed on the lower half of the chart do not include subtle differences of instrumental alternatives and/or pairings--for example, an independent oboe part vs. an oboe part duplicating a second violin, a separate cello part vs. an unspecified Basso, and so forth. These are among the kinds of details that have necessitated separate listings for works that are musically similar. One manuscript source for No. 3 is scored for recorder rather than violin. <br />
<br />
The transverse flute and the recorder were both associated with a certain freedom of timbral choice. The so-called chamber concertos (RV 570, 90, and 101) for flute (or recorder), oboe, bassoon, violin, and bass can be understood to signify this sense of free play, rather than to represent a sub-genre cast in concrete. Although Vivaldi's chamber concertos had few analogues during Vivaldi's lifetime, they paved the way to a rich chamber repertory in the later eighteenth century.<br />
<br />
<center><br />
{{VivaldiOpl0PDFTable}}<br />
</center><br />
<br />
The first three works are the best known ones of the collection, but their nicknames accrued over time. Their programmatic allusions are largely confirmed in associated manuscripts. Storms at sea and phantoms of the night (the images cultivated by the first two pieces) were staples of opera staging at Venice's Teatro Sant'Angelo, the Venetian theater with which Vivaldi and his father were most consistently associated. Both played a prominent role in Venetian scene paintings contemporary with Vivaldi. <br />
<br />
The representation of sleep in the fourth movement of Op 10, No. 2, is illustrative of a fascination with dreams and the supernatural that was probed cautiously on the stage because of the pervasive scrutiny of religious censors. However, the dramatization of darkness fed Sant'Angelo's penchant for grottoes and grotesque scenes. It is darkness that the bassoon invokes in the manuscript RV 501 (the loose analogue of No. 2), where the the key is Bb Major rather than G Minor.<br />
<br />
Vivaldi's depictions of bird-calls (in Op. 10, No. 3 a bullfinch) were prevalent not only in his concertos but also in his operas, and in dozens of works by other composers of the time. Also elsewhere they often suggested the formal gardens that were so much promoted by the aristocracy, in Vivaldi's case they are more often a natural depiction of bucolic habitats consistent with the imagery of Arcadian shepherds than of programmed landscapes abroad. <br />
<br />
The <i>sopranino</i> recorder concerto RV 444 is a unique work among Vivaldi's <i>oeuvre</i>, although it could easily have been adapted to a different soloist. It would have suited a virtuoso of considerable renown.<br />
<br />
The parts provided here correspond to the Dover Publication entitled <i>Six Concertos for Flute and String Orchestra, Op. 10, and Related Variants</i>.<br />
<br />
===Op. 11: <i>Sei concerti</i>===<br />
In Opp. 11 and 12 Vivaldi returned to the practice of publishing six works at a time. His earlier 12-work prints are usually presented as two books of six, but there were practical benefits to grouping the works into two sets. Opp. 11 and 12 appear to be cut from the same cloth and may have been intended as a single publication. They appeared with consecutive print numbers (Nos. 545, 546) from presses of Michel Charles Le Cène in 1729. In comparison to all of Vivaldi's music printed since 1711 they were poorly circulated.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Related works !! Score <br />
|-<br />
| Op. 11, No. 1 || RV 207 || Concerto / VPr; V1 V2 Va Vc Bc || D Major || || Example<br />
|-<br />
| Op. 11, No. 2 || RV 277 || Concerto / VPr; V1 V2 Va Vc Bc || E Minor || Nicknamed "Il Favorito" || Example<br />
|-<br />
| Op. 11, No. 3 || RV 336 || Concerto / VPr; V1 V2 Va Vc Bc || A Major || || Example <br />
|-<br />
| Op. 11, No. 4 || RV 308 || Concerto / VPr; V1 V2 Va Vc Bc || G Major || || Example <br />
|-<br />
| Op. 11, No. 5 || RV 202 || Concerto / VPr; V1 V2 Va Vc Bc || G Minor || || Example <br />
|-<br />
| Op. 11, No. 6 || RV 260 || Concerto / VPr; V1 V2 Va Vc Bc || C Minor || Op. 9, No. 3 (RV 334) || Example<br />
|}<br />
<br />
===Op. 12: <i>Sei concerti</i>===<br />
Vivaldi's six concertos Op. 12 (1729) represent the final printed publication of his music. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 12, No. 1 || RV 317 || Concerto / VPr V1 V2 Va Vc Bc || G Minor || Example<br />
|-<br />
| Op. 12, No. 2 || RV 244 || Concerto / VPr V1 V2 Va Vc Bc || D Minor || Example<br />
|-<br />
| Op. 12, No. 3 || RV 124 || Concerto / VPr V1 V2 Va Vc Bc || D Major || Example<br />
|-<br />
| Op. 12, No. 4 || RV 173 || Concerto / VPr V1 V2 Va Vc Bc || C Major || Example<br />
|-<br />
| Op. 12, No. 5 || RV 379 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 12, No. 6 || RV 361 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|}<br />
<br />
==Unpublished instrumental works==<br />
<br />
The number of Vivaldi's unpublished instrumental pieces greatly exceeds those that were printed in the composer's lifetime. They generally follow the same lines and populate the same genres of sonata and concerto. The two most conspicuous differences between the published and unpublished works are that dates of composition are more difficult to pin down for the manuscript works and nearly all of the works with obbligato wind parts were never published. <br />
<br />
Why were works with obbligato winds not published in Vivaldi's time? The demand for works with wind parts was much lower, while learning to play the violin was a popular activity among noblemen. Numerous accounts of special occasions note the addition of local amateur players to orchestras for serenatas and sinfonias. Learning to play a bowed instrument conferred a certain prestige on the fledgling performer. <br />
<br />
In Italy wind instruments, which were not readily available, were required in music for particular kinds of ceremonies or scenes in operas. Nasal reeds, such as the oboe, were used in funeral music or to signify impending doom. Recorders and cross-flutes were associated with peasants and with dancing. Bassoons could signify the underworld. Among brasses, trumpets had been used discreetly to represent military advances and triumphs since before Vivaldi was born, but their appearances were few. <br />
<br />
Vivaldi's interactions with musicians from north of the Alps provided him with incentives to score parts for oboes, bassoons, recorders, cross-flutes, and other novel instruments. He also adapted some of his concertos with a wind instrument instead of a principal violin. Op. 10 is the only print that shows off his wind interests here, but the menu of works related to that set of six (grouped here with Op. 10) shows the latitude (or lack thereof) in adaptations. <br />
<br />
Yet in Italy the idea of using these different timbres together with strings was one that remained somewhat foreign at the end of Vivaldi's life. In his operas, winds were usually deployed in pairs. Quite often their use was limited to opening performances, when entrance fees were higher. Because their players were paid one night at a time, the wind parts did not always survive. Modern editions represent optimal versions of the work at hand, but the fact that many wind parts have only one or two solo episodes in an entire work and otherwise double string parts allows for some latitude in interpretation and some accommodation of strained circumstances.<br />
<br />
=Oratorios=<br />
== [http://wiki.ccarh.org/wiki/Juditha_triumphans <i>Juditha triumphans</i>] ==<br />
<br />
Click title to see separate webpage.<br />
<br />
= References =</div>Edchttps://wiki.ccarh.org/index.php?title=MuseData:_Antonio_Vivaldi&diff=10470MuseData: Antonio Vivaldi2021-03-24T04:39:59Z<p>Edc: /* Op. 9: La cetra. Concerti */</p>
<hr />
<div>__TOC__<br />
<br />
<br />
==Published Sonatas and Concertos==<br />
Antonio Lucio Vivaldi (1678-1741) is best known to modern audiences for his instrumental music. Like most composers of his time, Vivaldi composed in the formal medium of the sonata in his earliest publications (from 1703). His reputation was propelled by his concertos, the earliest of which appeared in 1711. This is still the genre with which he is most widely associated. <br />
<br />
===Op. 1: <i>Suonate da camera a trè, due violini e violone o cembalo</i>===<br />
Vivaldi's twelve sonatas Op. 1 are presumed to have been published prior to his appointment as <i>maestro di violino</i> at the Ospedale della Pietà, Venice, because he is described without reference to the institution as "<i>musico di violino, professore veneto</i>" (a violinist and teacher in the Veneto). The works were dedicated to the count Annibale Gambara, one of five sons in a big family of noblemen from Brescia (the city in which Vivaldi's father was born), a provincial capital in the western Veneto. The Gambara also had a modest palace on the Grand Canal in the Venetian parish of San Barnabà. <br />
<br />
[[File:Op1-12_Folia_V1.png|400px|thumb|center|Excerpt from the Violino primo (first violin) part of the Folìa of Vivaldi's Sonata Op. 1, No. 12 (Venice: Giuseppe Sala, 1705). Image from the partbook in the Conservatorio Benedetto Marcello, Venice. Used by permission.]]<br />
<br />
These trio sonatas contained various numbers of movements (3 to 6), most in binary form. The four outer works (Nos. 1, 2, 11, and 12) were in minor keys, the others in major ones. The best known work is Op. 1, No. 12, which features an ambitious <i>folìa</i> movement at its conclusion. The earliest surviving print of Op. 1 was published in Venice (G. Sala) in 1705. The collection was reprinted in Amsterdam in 1723 (E. Roger, as print No. 363), in Paris in 1759 (Le Clerc), and in Austria in 1759. Many movements are brief and musically simple, so much so that were one to judge from this opus alone, one would not have anticipated the kind of success that Vivaldi later found.<br />
<br />
{{VivaldiOp1PDF}}<br />
<br />
===Op. 2: <i>Sonate a violino e basso per il cembalo</i>===<br />
[[File:Carlevaris_FredIV_viaGetty-Google.png|575px|thumb|left|Detail of Luca Carlevaris's depiction of the regatta held on the Grand Canal, Venice, for Frederick IV of Denmark (1709). Reproduction of public-domain image from the Getty Museum as shown in the Google Art project.]]<br />
<br />
The trio sonata, over which Vivaldi had exhibited his command in Op. 1, had been the most prevalent instrumental genre of the 1690s, but in the first decade of the eighteenth century interest began to gravitate towards the "solo" sonata--a work in several movements for one ensemble instrument and a basso continuo. In this 1709 collection by the Venetian publisher Antonio Bortoli, Vivaldi pursued a more expressive vein of musical enticement. The opus was dedicated to the visiting young monarch Frederick IV of Denmark. As prince of Schleswig-Holstein, his extended stay drew much artistic attention. No fewer than three operas were dedicated to him. <br />
<br />
Seven of these sonatas were cast in minor keys. The movement structure remained variable. Vivaldi was moving in the direction of fewer movements but with greater musical elaboration within each movement. He was still described as <i>musico di violino</i> but also as <i>maestro dei concerti</i> (concertmaster) of the Ospedale della Pietà. <br />
<br />
{{VivaldiOp2PDF}}<br />
<br />
Like Op. 1, Op. 2 had a long afterlife in both reprints and manuscript copies, mainly abroad. These included the publications of E. Roger (Amsterdam, 1712) and several editions (1721-1730) by I. Walsh J. Young (London).<br />
<br />
===Op. 3: <i>L'estro armonico: Concerti</i>=== <br />
[[File:Ferdinando_de'_Medici_c1687_Cassana.jpg|300px|thumb|right|Portrait of Ferdinando de' Medici, grand prince of Tuscany, in c. 1687 by the Venetian painter Niccolò Cassana. Wikimedia Commons.]]<br />
<br />
The first concertos by Vivaldi to reach print were those of Opus 3 (Amsterdam, 1711). With them Vivaldi suddenly became a celebrity, for although he was well known as a virtuoso, his previously published works had found a relatively modest reception. Vivaldi's titles remained as they were in Op. 2. Most composers described the contents of a publication in sufficient detail to indicate instrumentation, but Vivaldi settled for the word "Concerti" in order to allow space for the titles of his patron, the Grand Prince of Tuscany, [http://it.wikipedia.org/wiki/Ferdinando_de%27_Medici#Teatro Ferdinando III (1663-1713)]. The Grand Prince, who led a flamboyant life, enjoyed his visits to Venice, where however he contracted syphilis in 1696. This led to his premature death and changed the course of Tuscan (and imperial) history. Meanwhile, however, his patronage of music benefited many composers of the time including [http://en.wikipedia.org/wiki/Tomaso_Albinoni Tomaso Albinoni (1671-1751)], [http://en.wikipedia.org/wiki/Handel George Frederick Handel (1685-1759)], and [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Alessandro Scarlatti (1660-1725)]. His Bavarian wife, [http://it.wikipedia.org/wiki/Violante_Beatrice_di_Baviera Violante Beatrice (1673-1731)], was in many ways a still more significant supporter of individual singers and instrumentalists. <br />
<br />
Having now completed eight years' of teaching at the [[Ospedale of the Pietà]] in Venice, Vivaldi shows himself to have experimented with a variety of approaches to textures and groupings of instruments. These twelve works are arranged cyclically, such that Nos. 1, 4, 7, and 10 are scored for four violins and string orchestra; Nos. 2, 5, 8, and 11 for two violins, violoncello, and string orchestra; and Nos. 3, 6, 9, and 12 for solo violin (Violino Principale) and string orchestra. Within the <i>concertino</i> groups (four violins or, alternatively, two violins and violoncello), there is further separation. The "four violins" model often involves the pairing of the instruments such that one duo imitates another. This kind of experimentation is suggested by the word <i>estro</i>, which refers to gestational properties whereby one musical passage generates the need for the next. In musical terms, the sophistication of the idea represented an enormous step forward for Vivaldi, whose first sonatas were primitive and somewhat generic by comparison. <br />
<br />
Additionally, the music was more cogent than before, the organization manifestly rational. The imaginative scoring, careful markup, and newly pungent musical affects were novelties not found in Opp. 1 or 2. If he had leaned on the familiar models of [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Arcangelo Corelli (1753-1713)] before, Vivaldi was now producing music that was novel, ambitious, and aesthetically pleasing. Largely in coincidence with this publication, Vivaldi's concerts at the Pietà began to win plaudits from a succession of visiting dignitaries from abroad. <br />
<br />
Within the context of the early concerto, Op. 3 was equally noteworthy. The now elderly Corelli had perfected the <i>concerto grosso</i> [his [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli#The_Concerti_grossi_Op._6 Op. 6] would be published only posthumously in 1714]. Vivaldi's concertos for two and four violins had some debts to these works, but his concertos for solo violin and orchestra did not have Corellian models to follow. The trumpet concertos by [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Giuseppe Torelli (1658-1709)] are an oft mentioned alternative model, but Vivaldi's skills at articulation and exhibitionism were unrivaled. The violin was capable of much greater subtlety than the trumpet. <br />
<br />
====Dissemination of Individual Works from Op. 3====<br />
The <i>Concerti</i> Op. 3 were so popular that the entire opus was reprinted in Amsterdam within a year. Other reprints followed in both London and Paris through 1751. Because of the cyclical rotation of different combinations of instruments from work to work individual pieces in Op. 3 led themselves to diverse uses. The basic organization is shown in the table. Parsed one way, it is a four-fold cycle of three works. The textures vary with the instrumentation.<br />
<br />
Several works from Opus 3 took on lives of their own. Six works (indicated by an asterisk*) were transcribed by J. S. Bach, and there are faint clues that Bach may have transcribed them all. Bach was highly sensitive to the cyclical instrumentation of Vivaldi's collection: Nos 1, 4, 7, and 10 were set for two pairs of solo violins; Nos. 2, 5, 8, and 11 for a trio of soloists (two violins and violoncello); Nos. 3, 6, 9, and 12 for principal violin, in all cases with string orchestra. As the table below shows, Bach chose the second type an organ adaptation and the third type for concertos for harpsichord and strings, while the first type served as a model for his lone concerto for four harpsichords and strings. The trio sonata, which was at its peak in the years 1700-1710, was a popular reservoir for organ transcriptions in Germany, but the other adaptations had no such currency. Concertos for four harpsichords were unknown. <br />
<br />
Wide circulation of Vivaldi's concertos was further stimulated by John Walsh's edition of Op. 3 in <i>c.</i> 1715. In this print, the order of Nos. 6-9 was altered so that these concertos became Nos. 8, 9, 6, and 7). The clavichord transcriptions of Anne Dawson include many works in Vivaldi's Opp. 3 and 4 show a further dimension of the music's adaptation. Numerous transcriptions and copies survive in Europe and North America.<br />
<br />
====CCARH Scores and Parts for Opus 3====<br />
[[File:Op3DoverCover.jpg|100px||left]]<br />
<br />
CCARH cooperated with Dover Publications Inc. in producing the scores that appear in <i>L'estro armonico: Twelve Concertos for Violins and String Orchestra, Op. 3</i>. The cover is shown below. The collection entitled <i>L'estro armonico</i> was the first title under Vivaldi's name to draw widespread attention. It is likely that some of the work had already been performed in selected gatherings. The were profusely copied, arranged, and reprinted (with numerous variants) over the next few decades. <br />
<br />
For bound paper copies, see Vivaldi, Antonio. <i>"L'Estro armonico", Op. 3 in Full Score: 12 Concertos for Violins and String Orchestra</i>, ed. Eleanor Selfridge-Field (Mineola, New York: Dover Publications; 1999). Available from Amazon [http://www.amazon.com/exec/obidos/tg/detail/-/0486406318/themefinder/002-2800507-6138416 ISBN 0-486-40631-8] and Dover [http://store.doverpublications.com/review.html?pr_page_id=0486406318 ISBN 0-486-40631-8].<br />
</ul><br />
<br />
{{VivaldiOp3PDF}}<br />
<br><br />
<br />
===Op. 4: <i>La Stravaganza: Concerti in six parts</i>===<br />
Vivaldi's violin concertos Op. 4 (announced in London on January 1, 1715) achieved a much broader penetration of the European market than any previous publication of his music. The collection, published in Amsterdam as Estienne Roger's prints Nos. 399 and 400, bore the title <i>La Stravaganza</i> (The Extravaganza), a designation popular at the time. In musical contexts it usually referred to chromatic harmonies, but in Vivaldi's case it forewarned prospective players of the challenges posed, epsecially for the principal violinist. (Up to this time, Roger had principally offered trio sonatas and concerti grossi, which were less demanding.) <br />
<br />
Op. 4 was a compendium of virtuoso techniques that were popularized by Vivaldi, who, as a performer, was known far and wide for his daring. His near-peers in this regard were violinist-composers such as Tomaso Albinoni and Lodovico Madonis, but their most demanding works appeared some years later and were less widely distributed. Op. 4 was dedicated to a Venetian nobleman, Vettor Delfin, whose family were largely engaged in military affairs. With only one exception (Op. 4, No. 7), the concertos were written in three movements. <br />
<br />
At the time Op. 4 appeared, Vivaldi had been filling holes left by the departure of [http://it.wikipedia.org/wiki/Francesco_Gasparini Francesco Gasparini (1661-1727)] at the Pietà. He was now turning his attention to motets and oratorios <i>per force</i> to bridge the gap left by Gasparini. It is therefore likely that most of these pieces were composed before the elder <i>maestro</i>'s departure. Reprints of Op. 4 appeared in 1723, 1728, and 1730, but selected individual works enjoyed independent circulation. Vivaldi had now reached the point where demand for his instrumental music exceeded the amount of time he could afford to devote to it. It may be for this reasons that echoes of Op. 4 appear in a few later works by Vivaldi. Op. 7, No. 1, for example, was a first cousin of Op. 4, No. 9; mMyriad other variants of this set were quoted in later works. The cumulative effect was a splintering of work-identities that still confuse musicians today. Vivaldi himself adapted many of his works to suit new purposes as appropriate occasions arose. <br />
<br />
{{VivaldiOp4PDF}}<br />
<br />
===Op. 5: <i>VI Sonate/quatro à violino solo e basso e due a due violini e basso continuo</i>===<br />
Four of the six sonatas of Op. 5, published in Amsterdam (1716) as Estienne Roger's print No. 418, may have been remainders of Vivaldi's Op. 2, an opus consisting of a dozen solo violin sonatas. In Op. 5 we find four solo sonatas and trio sonatas. During the visit of the young Danish king Frederick Christian IV to Venice in the winter of 1709, a great many banquets and balls were planned. Easily half of them were canceled either by hosts or guests because many people (including the doge and one of the Republic's official hosts) died. No autograph material for this opus survives. Op. 2 had been dedicated to Frederick Christian, but Op. 5 was an orphan of sorts. It contained a mixed repertory, lacked a dedicatee, and found insufficient popularity to prompt reprints. Few works were copied in manuscript. An exception was the first movement of Op. 5, No. 6, which was included in J. B. Cartier's <i>L'Art du Violon</i> (Paris, 1798). <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 5, No. 1 || RV 18 || Sonata / V, BC || F Major || Example<br />
|-<br />
| Op. 5, No. 2 || RV 30 || Sonata / V, BC || A Major || Example<br />
|-<br />
| Op. 5, No. 3 || RV 33 || Sonata / V, BC || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 4 || RV 35 || Sonata / V, BC || B Minor || Example<br />
|-<br />
| Op. 5, No. 5 || RV 76 || Sonata / V1, V2, BC || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 6 || RV 72 || Sonata / V1, V2, BC || G Minor || Example<br />
|}<br />
<br />
===Op. 6: <i>VI Concerti à cinque strumenti: 3 violini, alto viola, e basso continuo</i>===<br />
The six concertos for violin and strings of Op. 6, published in Amsterdam in 1716-1717 by Jeanne Roger (as her firm's print No. 452) represent both a continuation and a departure. The instrumental requirements are identical to those of Op. 4: they require a principal violin and a small string orchestra. This short collection could have served as a supplement to Op. 4, given the pattern set by Opp. 2 and 5 (another short set). The absence of a dedicatee and sundry details of the music suggest that Vivaldi did not actively seek this publication and that the print was therefore unauthorized. Mme. Roger heralded Vivaldi's titles as <i>maestro di violino</i> and <i>maestro di concerti</i> at the Pietà. <br />
<br />
Musically, five of the six works are in minor keys. Again forming a parallel with Op. 5, it was not followed by myriad other editions, although Le Cène brought out one (undated) reprint.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 6, No. 1 || RV 324 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 2 || RV 259 || Converto / VPr; V1 V2 Va Vc Org || C Minor || Example<br />
|-<br />
| Op. 6, No. 3 || RV 318 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 4 || RV 216 || Concerto / VPr; V1 V2 Va Vc Org || D Major || Example<br />
|-<br />
| Op. 6, No. 5 || RV 280 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || Example<br />
|-<br />
| Op. 6, No. 6 || RV 239 || Concerto / VPr; V1 V2 Va Vc Org || D Minor || Example<br />
|}<br />
<br />
===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===<br />
<br />
Vivsaldi's 12 concertos <i>a 5</i> (meaning three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for the solo episodes of the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained three movements. One can see that Vivaldi's idea of concerto had evolved considerably over a decade. The oboe arrangements of Nos. 1 and No. 7, as well as No. 9 (reset for oboe in a later opus) are now considered spurious. <br />
<br />
As scores passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his concertos began to take on a life of their own. No. 1 was revised by Johann Pisendel (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden Hofkapelle. <br />
No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro." No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in Walsh & Hare's anthology <i>Select Harmony</i> (1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work incudes a written cadanza. It was also transcribed by J. S. Bach for organ as BWV 594. Parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 7, No. 1 || RV 465 || Concerto / Ob (VPr) V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 143 || Example<br />
|-<br />
| Op. 7, No. 2 || RV 188 || Concerto / VPr; V1 V2 Va Vc Org || C Major || || Example<br />
|-<br />
| Op. 7, No. 3 || RV 326 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || RV 370 || Example<br />
|-<br />
| Op. 7, No. 4 || RV 354 || Concerto / VPr; V1 V2 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 7, No. 5 || RV 285a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 285 || Example<br />
|-<br />
| Op. 7, No. 6 || RV 374 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 7, No. 7 || RV 464 || Concerto / Ob (VPr) V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 142 || Example<br />
|-<br />
| Op. 7, No. 8 || RV 299 || Concerto / VPr; V1 V2 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 7, No. 9 || RV 373 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 153 || Example<br />
|-<br />
| Op. 7, No. 10 || RV 294a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 294 || Example<br />
|-<br />
| Op. 7, No. 11 || RV 208a || Concerto / VPr; V1 V2 Va Vc Org || D Major || BWV 594 (organ) || Example<br />
|-<br />
| Op. 7, No. 12 || RV 214 || Concerto / VPr; V1 V2 Va Vc Org || D Major || || Example<br />
|}<br />
<br />
===Op. 8: <i>Il cimento dell'armonia e dell'invenzione: Concerti a quattro e cinque</i>===<br />
Vivaldi's most famous opus was published in Amsterdam by Michel Charles Le Cène in 1725. It is clear, though, that various portions of sundry works had been written earlier. What was perhaps new was the formalization of the scheme, complete with the texts of the sonnets with which they were coordinated, of the first four concertos--The Four Seasons. These works, and their cyclical organization, captured the imagination of many and led to a "Four Seasons" industry of arrangements performances that extends to the current day. <br />
<br />
Unlike other opuses that postdated Vivaldi's move to Mantua, this one resumed the practice of dedicating the collection to a nobleman, in this case Venceslas, count of Morzin (also Morcin, spelled Marzin in the print itself). (Two concertos known only in manuscript, RV 449 and 496, were also dedicated to the count. <br />
He was Bohemian with townhouses in Prague and Vienna. He was an occasional patron of Venetian opera. Prague, the capital of Bohemia, was a thriving city was rapidly developing enterprises focused on opera and on the development of string music. One can see how poetic justice prevailed in this dedication: Bohemians not only loved music but were happy to master its component parts. <br />
<br />
This opus was more popular in France than anywhere else. Parisian reprints issued from the presses of Madame Boivin (c. 1739, 1743, 1748). Manuscripts were widely circulated. Rearrangements of portions of the opus were opus also proliferated. In Dresden, the orchestration of some works was enriched by Johann Pisendel, who also elaborated some of the articulation. <br />
<br />
In the works as a set, major keys predominate. Nos. 7, 9, AND 11 are known in alternative versions. The final of movement of Op. 8, No. 11 presents a particularly complex web of revisions to the alternation of tutti and solo. <br />
<br />
====CCARH Parts for Op. 8====<br />
The following parts for Antonio Vivaldi's Op.8 concerti accompany the full score available from Dover Publications:<br />
<br />
* Vivaldi, Antonio. "The Four Seasons" and Other Violin Concertos in Full Score; Opus 8, Complete. Ed. by Eleanor Selfridge-Field. Mineola, New York: Dover Publications; 1995. ISBN 0-486-28638-X.<br />
<br />
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{{VivaldiOp8PDFTable}}<br />
</center><br />
<br><br />
<br />
===Op. 9: <i>La cetra. Concerti</i>===<br />
Vivaldi's Concertos Op. 9, published in Amsterdam by Michel Charles Le Cène in Vols. 533 and 534 (datable from 1727), have the distinction of having been dedicated to the emperor Charles VI. The two met two years later in Trieste, where the emperor was more enraptured by Vivaldi's music and the intelligence with which he discussed it than with the diplomatic matters at hand. Op. 9 is easily confused with a contemporary set of twelve unpublished concertos for violin also called "La Cetra," that Vivaldi presented to the Emperor during his 1729 visit, as part of a diplomatic delegation, to Trieste. <br />
<br />
The works of Op. 9 were not so widely circulated as those of other recent volumes of Vivaldi's music, and a few were not new. (Three of the works were known in alternative versions.) The popularity of the "Four Seasons" concertos (Op. 8, Nos. 1-4) blinded the public to Vivaldi's future prints, while Vivaldi's own interest in publishing instrumental music was also in decline after the appearance of this collection. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 9, No. 1 || RV 181a || [VPr]; V1 V2 V3 Va Vc Org || C Major || RV 180 || Example<br />
|-<br />
| Op. 9, No. 2 || RV 375 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 3 || RV 334 || [VPr]; V1 V2 V3 Va Vc Org || G Minor || || Example<br />
|-<br />
| Op. 9, No. 4 || RV 263a || [VPr]; V1 V2 V3 Va Vc Org || E Major || RV 263 || Example<br />
|-<br />
| Op. 9, No. 5 || RV 358 || [VPr]; V1 V2 V3 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 9, No. 6 || RV 348 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 7 || RV 359 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 8 || RV 238 || [VPr]; V1 V2 V3 Va Vc Org || D Minor || || Example<br />
|-<br />
| Op. 9, No. 9 || RV 530 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 10 || RV 300 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 9, No. 11 || RV 198a || [VPr]; V1 V2 V3 Va Vc Org || C Minor || RV 198 || Example<br />
|-<br />
| Op. 9, No. 12 || RV 391 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|}<br />
<br />
The part for <i>Violino Principale</i> is lost, although a manuscript part-book for it survives for a few works.<br />
<br />
===Op. 10: <i>VI Concerti a flauto traverso</i>===<br />
Six Concertos for Flute and String Orchestra, Op. 10; Related Variants<br />
<br />
As published, Vivaldi's Opus 10 is a straightforward collection of concertos for flute and string orchestra. <br />
Most works which originally called for obbligato flutes seem to have originated during the early 1720s, perhaps reflecting opportunities that Vivaldi encountered in Rome, where he stayed intermittently between c. 1719 and 1724. Although the transverse flute was then little known in Italy, the availability of an excellent player is was essential for the execution of several of his works for it. <br />
<br />
Opus 10 appeared in 1729, in rough coincidence with Vivaldi's violin concertos Opp. 11 and 12, but most of the work are likely to have composed years earlier. All three volumes were published in Amsterdam. Although published set was designed for a market oriented towards a standardized, relatively neutral instrumentation, the origins of the individual works were heterogeneous. The indications suggested by the related concertos listed on the lower half of the chart do not include subtle differences of instrumental alternatives and/or pairings--for example, an independent oboe part vs. an oboe part duplicating a second violin, a separate cello part vs. an unspecified Basso, and so forth. These are among the kinds of details that have necessitated separate listings for works that are musically similar. One manuscript source for No. 3 is scored for recorder rather than violin. <br />
<br />
The transverse flute and the recorder were both associated with a certain freedom of timbral choice. The so-called chamber concertos (RV 570, 90, and 101) for flute (or recorder), oboe, bassoon, violin, and bass can be understood to signify this sense of free play, rather than to represent a sub-genre cast in concrete. Although Vivaldi's chamber concertos had few analogues during Vivaldi's lifetime, they paved the way to a rich chamber repertory in the later eighteenth century.<br />
<br />
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{{VivaldiOpl0PDFTable}}<br />
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<br />
The first three works are the best known ones of the collection, but their nicknames accrued over time. Their programmatic allusions are largely confirmed in associated manuscripts. Storms at sea and phantoms of the night (the images cultivated by the first two pieces) were staples of opera staging at Venice's Teatro Sant'Angelo, the Venetian theater with which Vivaldi and his father were most consistently associated. Both played a prominent role in Venetian scene paintings contemporary with Vivaldi. <br />
<br />
The representation of sleep in the fourth movement of Op 10, No. 2, is illustrative of a fascination with dreams and the supernatural that was probed cautiously on the stage because of the pervasive scrutiny of religious censors. However, the dramatization of darkness fed Sant'Angelo's penchant for grottoes and grotesque scenes. It is darkness that the bassoon invokes in the manuscript RV 501 (the loose analogue of No. 2), where the the key is Bb Major rather than G Minor.<br />
<br />
Vivaldi's depictions of bird-calls (in Op. 10, No. 3 a bullfinch) were prevalent not only in his concertos but also in his operas, and in dozens of works by other composers of the time. Also elsewhere they often suggested the formal gardens that were so much promoted by the aristocracy, in Vivaldi's case they are more often a natural depiction of bucolic habitats consistent with the imagery of Arcadian shepherds than of programmed landscapes abroad. <br />
<br />
The <i>sopranino</i> recorder concerto RV 444 is a unique work among Vivaldi's <i>oeuvre</i>, although it could easily have been adapted to a different soloist. It would have suited a virtuoso of considerable renown.<br />
<br />
The parts provided here correspond to the Dover Publication entitled <i>Six Concertos for Flute and String Orchestra, Op. 10, and Related Variants</i>.<br />
<br />
===Op. 11: <i>Sei concerti</i>===<br />
In Opp. 11 and 12 Vivaldi returned to the practice of publishing six works at a time. His earlier 12-work prints are usually presented as two books of six, but there were practical benefits to grouping the works into two sets. Opp. 11 and 12 appear to be cut from the same cloth and may have been intended as a single publication. They appeared with consecutive print numbers (Nos. 545, 546) from presses of Michel Charles Le Cène in 1729. In comparison to all of Vivaldi's music printed since 1711 they were poorly circulated.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Related works !! Score <br />
|-<br />
| Op. 11, No. 1 || RV 207 || Concerto / VPr; V1 V2 Va Vc Bc || D Major || || Example<br />
|-<br />
| Op. 11, No. 2 || RV 277 || Concerto / VPr; V1 V2 Va Vc Bc || E Minor || Nicknamed "Il Favorito" || Example<br />
|-<br />
| Op. 11, No. 3 || RV 336 || Concerto / VPr; V1 V2 Va Vc Bc || A Major || || Example <br />
|-<br />
| Op. 11, No. 4 || RV 308 || Concerto / VPr; V1 V2 Va Vc Bc || G Major || || Example <br />
|-<br />
| Op. 11, No. 5 || RV 202 || Concerto / VPr; V1 V2 Va Vc Bc || G Minor || || Example <br />
|-<br />
| Op. 11, No. 6 || RV 260 || Concerto / VPr; V1 V2 Va Vc Bc || C Minor || Op. 9, No. 3 (RV 334) || Example<br />
|}<br />
<br />
===Op. 12: <i>Sei concerti</i>===<br />
Vivaldi's six concertos Op. 12 (1729) represent the final printed publication of his music. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 12, No. 1 || RV 317 || Concerto / VPr V1 V2 Va Vc Bc || G Minor || Example<br />
|-<br />
| Op. 12, No. 2 || RV 244 || Concerto / VPr V1 V2 Va Vc Bc || D Minor || Example<br />
|-<br />
| Op. 12, No. 3 || RV 124 || Concerto / VPr V1 V2 Va Vc Bc || D Major || Example<br />
|-<br />
| Op. 12, No. 4 || RV 173 || Concerto / VPr V1 V2 Va Vc Bc || C Major || Example<br />
|-<br />
| Op. 12, No. 5 || RV 379 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 12, No. 6 || RV 361 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|}<br />
<br />
==Unpublished instrumental works==<br />
<br />
The number of Vivaldi's unpublished instrumental pieces greatly exceeds those that were printed in the composer's lifetime. They generally follow the same lines and populate the same genres of sonata and concerto. The two most conspicuous differences between the published and unpublished works are that dates of composition are more difficult to pin down for the manuscript works and nearly all of the works with obbligato wind parts were never published. <br />
<br />
Why were works with obbligato winds not published in Vivaldi's time? The demand for works with wind parts was much lower, while learning to play the violin was a popular activity among noblemen. Numerous accounts of special occasions note the addition of local amateur players to orchestras for serenatas and sinfonias. Learning to play a bowed instrument conferred a certain prestige on the fledgling performer. <br />
<br />
In Italy wind instruments, which were not readily available, were required in music for particular kinds of ceremonies or scenes in operas. Nasal reeds, such as the oboe, were used in funeral music or to signify impending doom. Recorders and cross-flutes were associated with peasants and with dancing. Bassoons could signify the underworld. Among brasses, trumpets had been used discreetly to represent military advances and triumphs since before Vivaldi was born, but their appearances were few. <br />
<br />
Vivaldi's interactions with musicians from north of the Alps provided him with incentives to score parts for oboes, bassoons, recorders, cross-flutes, and other novel instruments. He also adapted some of his concertos with a wind instrument instead of a principal violin. Op. 10 is the only print that shows off his wind interests here, but the menu of works related to that set of six (grouped here with Op. 10) shows the latitude (or lack thereof) in adaptations. <br />
<br />
Yet in Italy the idea of using these different timbres together with strings was one that remained somewhat foreign at the end of Vivaldi's life. In his operas, winds were usually deployed in pairs. Quite often their use was limited to opening performances, when entrance fees were higher. Because their players were paid one night at a time, the wind parts did not always survive. Modern editions represent optimal versions of the work at hand, but the fact that many wind parts have only one or two solo episodes in an entire work and otherwise double string parts allows for some latitude in interpretation and some accommodation of strained circumstances.<br />
<br />
=Oratorios=<br />
== [http://wiki.ccarh.org/wiki/Juditha_triumphans <i>Juditha triumphans</i>] ==<br />
<br />
Click title to see separate webpage.<br />
<br />
= References =</div>Edchttps://wiki.ccarh.org/index.php?title=MuseData:_Antonio_Vivaldi&diff=10469MuseData: Antonio Vivaldi2021-03-24T04:26:45Z<p>Edc: /* Op. 2: Sonate a violino e basso per il cembalo */</p>
<hr />
<div>__TOC__<br />
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<br />
==Published Sonatas and Concertos==<br />
Antonio Lucio Vivaldi (1678-1741) is best known to modern audiences for his instrumental music. Like most composers of his time, Vivaldi composed in the formal medium of the sonata in his earliest publications (from 1703). His reputation was propelled by his concertos, the earliest of which appeared in 1711. This is still the genre with which he is most widely associated. <br />
<br />
===Op. 1: <i>Suonate da camera a trè, due violini e violone o cembalo</i>===<br />
Vivaldi's twelve sonatas Op. 1 are presumed to have been published prior to his appointment as <i>maestro di violino</i> at the Ospedale della Pietà, Venice, because he is described without reference to the institution as "<i>musico di violino, professore veneto</i>" (a violinist and teacher in the Veneto). The works were dedicated to the count Annibale Gambara, one of five sons in a big family of noblemen from Brescia (the city in which Vivaldi's father was born), a provincial capital in the western Veneto. The Gambara also had a modest palace on the Grand Canal in the Venetian parish of San Barnabà. <br />
<br />
[[File:Op1-12_Folia_V1.png|400px|thumb|center|Excerpt from the Violino primo (first violin) part of the Folìa of Vivaldi's Sonata Op. 1, No. 12 (Venice: Giuseppe Sala, 1705). Image from the partbook in the Conservatorio Benedetto Marcello, Venice. Used by permission.]]<br />
<br />
These trio sonatas contained various numbers of movements (3 to 6), most in binary form. The four outer works (Nos. 1, 2, 11, and 12) were in minor keys, the others in major ones. The best known work is Op. 1, No. 12, which features an ambitious <i>folìa</i> movement at its conclusion. The earliest surviving print of Op. 1 was published in Venice (G. Sala) in 1705. The collection was reprinted in Amsterdam in 1723 (E. Roger, as print No. 363), in Paris in 1759 (Le Clerc), and in Austria in 1759. Many movements are brief and musically simple, so much so that were one to judge from this opus alone, one would not have anticipated the kind of success that Vivaldi later found.<br />
<br />
{{VivaldiOp1PDF}}<br />
<br />
===Op. 2: <i>Sonate a violino e basso per il cembalo</i>===<br />
[[File:Carlevaris_FredIV_viaGetty-Google.png|575px|thumb|left|Detail of Luca Carlevaris's depiction of the regatta held on the Grand Canal, Venice, for Frederick IV of Denmark (1709). Reproduction of public-domain image from the Getty Museum as shown in the Google Art project.]]<br />
<br />
The trio sonata, over which Vivaldi had exhibited his command in Op. 1, had been the most prevalent instrumental genre of the 1690s, but in the first decade of the eighteenth century interest began to gravitate towards the "solo" sonata--a work in several movements for one ensemble instrument and a basso continuo. In this 1709 collection by the Venetian publisher Antonio Bortoli, Vivaldi pursued a more expressive vein of musical enticement. The opus was dedicated to the visiting young monarch Frederick IV of Denmark. As prince of Schleswig-Holstein, his extended stay drew much artistic attention. No fewer than three operas were dedicated to him. <br />
<br />
Seven of these sonatas were cast in minor keys. The movement structure remained variable. Vivaldi was moving in the direction of fewer movements but with greater musical elaboration within each movement. He was still described as <i>musico di violino</i> but also as <i>maestro dei concerti</i> (concertmaster) of the Ospedale della Pietà. <br />
<br />
{{VivaldiOp2PDF}}<br />
<br />
Like Op. 1, Op. 2 had a long afterlife in both reprints and manuscript copies, mainly abroad. These included the publications of E. Roger (Amsterdam, 1712) and several editions (1721-1730) by I. Walsh J. Young (London).<br />
<br />
===Op. 3: <i>L'estro armonico: Concerti</i>=== <br />
[[File:Ferdinando_de'_Medici_c1687_Cassana.jpg|300px|thumb|right|Portrait of Ferdinando de' Medici, grand prince of Tuscany, in c. 1687 by the Venetian painter Niccolò Cassana. Wikimedia Commons.]]<br />
<br />
The first concertos by Vivaldi to reach print were those of Opus 3 (Amsterdam, 1711). With them Vivaldi suddenly became a celebrity, for although he was well known as a virtuoso, his previously published works had found a relatively modest reception. Vivaldi's titles remained as they were in Op. 2. Most composers described the contents of a publication in sufficient detail to indicate instrumentation, but Vivaldi settled for the word "Concerti" in order to allow space for the titles of his patron, the Grand Prince of Tuscany, [http://it.wikipedia.org/wiki/Ferdinando_de%27_Medici#Teatro Ferdinando III (1663-1713)]. The Grand Prince, who led a flamboyant life, enjoyed his visits to Venice, where however he contracted syphilis in 1696. This led to his premature death and changed the course of Tuscan (and imperial) history. Meanwhile, however, his patronage of music benefited many composers of the time including [http://en.wikipedia.org/wiki/Tomaso_Albinoni Tomaso Albinoni (1671-1751)], [http://en.wikipedia.org/wiki/Handel George Frederick Handel (1685-1759)], and [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Alessandro Scarlatti (1660-1725)]. His Bavarian wife, [http://it.wikipedia.org/wiki/Violante_Beatrice_di_Baviera Violante Beatrice (1673-1731)], was in many ways a still more significant supporter of individual singers and instrumentalists. <br />
<br />
Having now completed eight years' of teaching at the [[Ospedale of the Pietà]] in Venice, Vivaldi shows himself to have experimented with a variety of approaches to textures and groupings of instruments. These twelve works are arranged cyclically, such that Nos. 1, 4, 7, and 10 are scored for four violins and string orchestra; Nos. 2, 5, 8, and 11 for two violins, violoncello, and string orchestra; and Nos. 3, 6, 9, and 12 for solo violin (Violino Principale) and string orchestra. Within the <i>concertino</i> groups (four violins or, alternatively, two violins and violoncello), there is further separation. The "four violins" model often involves the pairing of the instruments such that one duo imitates another. This kind of experimentation is suggested by the word <i>estro</i>, which refers to gestational properties whereby one musical passage generates the need for the next. In musical terms, the sophistication of the idea represented an enormous step forward for Vivaldi, whose first sonatas were primitive and somewhat generic by comparison. <br />
<br />
Additionally, the music was more cogent than before, the organization manifestly rational. The imaginative scoring, careful markup, and newly pungent musical affects were novelties not found in Opp. 1 or 2. If he had leaned on the familiar models of [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Arcangelo Corelli (1753-1713)] before, Vivaldi was now producing music that was novel, ambitious, and aesthetically pleasing. Largely in coincidence with this publication, Vivaldi's concerts at the Pietà began to win plaudits from a succession of visiting dignitaries from abroad. <br />
<br />
Within the context of the early concerto, Op. 3 was equally noteworthy. The now elderly Corelli had perfected the <i>concerto grosso</i> [his [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli#The_Concerti_grossi_Op._6 Op. 6] would be published only posthumously in 1714]. Vivaldi's concertos for two and four violins had some debts to these works, but his concertos for solo violin and orchestra did not have Corellian models to follow. The trumpet concertos by [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Giuseppe Torelli (1658-1709)] are an oft mentioned alternative model, but Vivaldi's skills at articulation and exhibitionism were unrivaled. The violin was capable of much greater subtlety than the trumpet. <br />
<br />
====Dissemination of Individual Works from Op. 3====<br />
The <i>Concerti</i> Op. 3 were so popular that the entire opus was reprinted in Amsterdam within a year. Other reprints followed in both London and Paris through 1751. Because of the cyclical rotation of different combinations of instruments from work to work individual pieces in Op. 3 led themselves to diverse uses. The basic organization is shown in the table. Parsed one way, it is a four-fold cycle of three works. The textures vary with the instrumentation.<br />
<br />
Several works from Opus 3 took on lives of their own. Six works (indicated by an asterisk*) were transcribed by J. S. Bach, and there are faint clues that Bach may have transcribed them all. Bach was highly sensitive to the cyclical instrumentation of Vivaldi's collection: Nos 1, 4, 7, and 10 were set for two pairs of solo violins; Nos. 2, 5, 8, and 11 for a trio of soloists (two violins and violoncello); Nos. 3, 6, 9, and 12 for principal violin, in all cases with string orchestra. As the table below shows, Bach chose the second type an organ adaptation and the third type for concertos for harpsichord and strings, while the first type served as a model for his lone concerto for four harpsichords and strings. The trio sonata, which was at its peak in the years 1700-1710, was a popular reservoir for organ transcriptions in Germany, but the other adaptations had no such currency. Concertos for four harpsichords were unknown. <br />
<br />
Wide circulation of Vivaldi's concertos was further stimulated by John Walsh's edition of Op. 3 in <i>c.</i> 1715. In this print, the order of Nos. 6-9 was altered so that these concertos became Nos. 8, 9, 6, and 7). The clavichord transcriptions of Anne Dawson include many works in Vivaldi's Opp. 3 and 4 show a further dimension of the music's adaptation. Numerous transcriptions and copies survive in Europe and North America.<br />
<br />
====CCARH Scores and Parts for Opus 3====<br />
[[File:Op3DoverCover.jpg|100px||left]]<br />
<br />
CCARH cooperated with Dover Publications Inc. in producing the scores that appear in <i>L'estro armonico: Twelve Concertos for Violins and String Orchestra, Op. 3</i>. The cover is shown below. The collection entitled <i>L'estro armonico</i> was the first title under Vivaldi's name to draw widespread attention. It is likely that some of the work had already been performed in selected gatherings. The were profusely copied, arranged, and reprinted (with numerous variants) over the next few decades. <br />
<br />
For bound paper copies, see Vivaldi, Antonio. <i>"L'Estro armonico", Op. 3 in Full Score: 12 Concertos for Violins and String Orchestra</i>, ed. Eleanor Selfridge-Field (Mineola, New York: Dover Publications; 1999). Available from Amazon [http://www.amazon.com/exec/obidos/tg/detail/-/0486406318/themefinder/002-2800507-6138416 ISBN 0-486-40631-8] and Dover [http://store.doverpublications.com/review.html?pr_page_id=0486406318 ISBN 0-486-40631-8].<br />
</ul><br />
<br />
{{VivaldiOp3PDF}}<br />
<br><br />
<br />
===Op. 4: <i>La Stravaganza: Concerti in six parts</i>===<br />
Vivaldi's violin concertos Op. 4 (announced in London on January 1, 1715) achieved a much broader penetration of the European market than any previous publication of his music. The collection, published in Amsterdam as Estienne Roger's prints Nos. 399 and 400, bore the title <i>La Stravaganza</i> (The Extravaganza), a designation popular at the time. In musical contexts it usually referred to chromatic harmonies, but in Vivaldi's case it forewarned prospective players of the challenges posed, epsecially for the principal violinist. (Up to this time, Roger had principally offered trio sonatas and concerti grossi, which were less demanding.) <br />
<br />
Op. 4 was a compendium of virtuoso techniques that were popularized by Vivaldi, who, as a performer, was known far and wide for his daring. His near-peers in this regard were violinist-composers such as Tomaso Albinoni and Lodovico Madonis, but their most demanding works appeared some years later and were less widely distributed. Op. 4 was dedicated to a Venetian nobleman, Vettor Delfin, whose family were largely engaged in military affairs. With only one exception (Op. 4, No. 7), the concertos were written in three movements. <br />
<br />
At the time Op. 4 appeared, Vivaldi had been filling holes left by the departure of [http://it.wikipedia.org/wiki/Francesco_Gasparini Francesco Gasparini (1661-1727)] at the Pietà. He was now turning his attention to motets and oratorios <i>per force</i> to bridge the gap left by Gasparini. It is therefore likely that most of these pieces were composed before the elder <i>maestro</i>'s departure. Reprints of Op. 4 appeared in 1723, 1728, and 1730, but selected individual works enjoyed independent circulation. Vivaldi had now reached the point where demand for his instrumental music exceeded the amount of time he could afford to devote to it. It may be for this reasons that echoes of Op. 4 appear in a few later works by Vivaldi. Op. 7, No. 1, for example, was a first cousin of Op. 4, No. 9; mMyriad other variants of this set were quoted in later works. The cumulative effect was a splintering of work-identities that still confuse musicians today. Vivaldi himself adapted many of his works to suit new purposes as appropriate occasions arose. <br />
<br />
{{VivaldiOp4PDF}}<br />
<br />
===Op. 5: <i>VI Sonate/quatro à violino solo e basso e due a due violini e basso continuo</i>===<br />
Four of the six sonatas of Op. 5, published in Amsterdam (1716) as Estienne Roger's print No. 418, may have been remainders of Vivaldi's Op. 2, an opus consisting of a dozen solo violin sonatas. In Op. 5 we find four solo sonatas and trio sonatas. During the visit of the young Danish king Frederick Christian IV to Venice in the winter of 1709, a great many banquets and balls were planned. Easily half of them were canceled either by hosts or guests because many people (including the doge and one of the Republic's official hosts) died. No autograph material for this opus survives. Op. 2 had been dedicated to Frederick Christian, but Op. 5 was an orphan of sorts. It contained a mixed repertory, lacked a dedicatee, and found insufficient popularity to prompt reprints. Few works were copied in manuscript. An exception was the first movement of Op. 5, No. 6, which was included in J. B. Cartier's <i>L'Art du Violon</i> (Paris, 1798). <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 5, No. 1 || RV 18 || Sonata / V, BC || F Major || Example<br />
|-<br />
| Op. 5, No. 2 || RV 30 || Sonata / V, BC || A Major || Example<br />
|-<br />
| Op. 5, No. 3 || RV 33 || Sonata / V, BC || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 4 || RV 35 || Sonata / V, BC || B Minor || Example<br />
|-<br />
| Op. 5, No. 5 || RV 76 || Sonata / V1, V2, BC || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 6 || RV 72 || Sonata / V1, V2, BC || G Minor || Example<br />
|}<br />
<br />
===Op. 6: <i>VI Concerti à cinque strumenti: 3 violini, alto viola, e basso continuo</i>===<br />
The six concertos for violin and strings of Op. 6, published in Amsterdam in 1716-1717 by Jeanne Roger (as her firm's print No. 452) represent both a continuation and a departure. The instrumental requirements are identical to those of Op. 4: they require a principal violin and a small string orchestra. This short collection could have served as a supplement to Op. 4, given the pattern set by Opp. 2 and 5 (another short set). The absence of a dedicatee and sundry details of the music suggest that Vivaldi did not actively seek this publication and that the print was therefore unauthorized. Mme. Roger heralded Vivaldi's titles as <i>maestro di violino</i> and <i>maestro di concerti</i> at the Pietà. <br />
<br />
Musically, five of the six works are in minor keys. Again forming a parallel with Op. 5, it was not followed by myriad other editions, although Le Cène brought out one (undated) reprint.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 6, No. 1 || RV 324 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 2 || RV 259 || Converto / VPr; V1 V2 Va Vc Org || C Minor || Example<br />
|-<br />
| Op. 6, No. 3 || RV 318 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 4 || RV 216 || Concerto / VPr; V1 V2 Va Vc Org || D Major || Example<br />
|-<br />
| Op. 6, No. 5 || RV 280 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || Example<br />
|-<br />
| Op. 6, No. 6 || RV 239 || Concerto / VPr; V1 V2 Va Vc Org || D Minor || Example<br />
|}<br />
<br />
===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===<br />
<br />
Vivsaldi's 12 concertos <i>a 5</i> (meaning three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for the solo episodes of the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained three movements. One can see that Vivaldi's idea of concerto had evolved considerably over a decade. The oboe arrangements of Nos. 1 and No. 7, as well as No. 9 (reset for oboe in a later opus) are now considered spurious. <br />
<br />
As scores passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his concertos began to take on a life of their own. No. 1 was revised by Johann Pisendel (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden Hofkapelle. <br />
No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro." No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in Walsh & Hare's anthology <i>Select Harmony</i> (1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work incudes a written cadanza. It was also transcribed by J. S. Bach for organ as BWV 594. Parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 7, No. 1 || RV 465 || Concerto / Ob (VPr) V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 143 || Example<br />
|-<br />
| Op. 7, No. 2 || RV 188 || Concerto / VPr; V1 V2 Va Vc Org || C Major || || Example<br />
|-<br />
| Op. 7, No. 3 || RV 326 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || RV 370 || Example<br />
|-<br />
| Op. 7, No. 4 || RV 354 || Concerto / VPr; V1 V2 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 7, No. 5 || RV 285a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 285 || Example<br />
|-<br />
| Op. 7, No. 6 || RV 374 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 7, No. 7 || RV 464 || Concerto / Ob (VPr) V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 142 || Example<br />
|-<br />
| Op. 7, No. 8 || RV 299 || Concerto / VPr; V1 V2 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 7, No. 9 || RV 373 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 153 || Example<br />
|-<br />
| Op. 7, No. 10 || RV 294a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 294 || Example<br />
|-<br />
| Op. 7, No. 11 || RV 208a || Concerto / VPr; V1 V2 Va Vc Org || D Major || BWV 594 (organ) || Example<br />
|-<br />
| Op. 7, No. 12 || RV 214 || Concerto / VPr; V1 V2 Va Vc Org || D Major || || Example<br />
|}<br />
<br />
===Op. 8: <i>Il cimento dell'armonia e dell'invenzione: Concerti a quattro e cinque</i>===<br />
Vivaldi's most famous opus was published in Amsterdam by Michel Charles Le Cène in 1725. It is clear, though, that various portions of sundry works had been written earlier. What was perhaps new was the formalization of the scheme, complete with the texts of the sonnets with which they were coordinated, of the first four concertos--The Four Seasons. These works, and their cyclical organization, captured the imagination of many and led to a "Four Seasons" industry of arrangements performances that extends to the current day. <br />
<br />
Unlike other opuses that postdated Vivaldi's move to Mantua, this one resumed the practice of dedicating the collection to a nobleman, in this case Venceslas, count of Morzin (also Morcin, spelled Marzin in the print itself). (Two concertos known only in manuscript, RV 449 and 496, were also dedicated to the count. <br />
He was Bohemian with townhouses in Prague and Vienna. He was an occasional patron of Venetian opera. Prague, the capital of Bohemia, was a thriving city was rapidly developing enterprises focused on opera and on the development of string music. One can see how poetic justice prevailed in this dedication: Bohemians not only loved music but were happy to master its component parts. <br />
<br />
This opus was more popular in France than anywhere else. Parisian reprints issued from the presses of Madame Boivin (c. 1739, 1743, 1748). Manuscripts were widely circulated. Rearrangements of portions of the opus were opus also proliferated. In Dresden, the orchestration of some works was enriched by Johann Pisendel, who also elaborated some of the articulation. <br />
<br />
In the works as a set, major keys predominate. Nos. 7, 9, AND 11 are known in alternative versions. The final of movement of Op. 8, No. 11 presents a particularly complex web of revisions to the alternation of tutti and solo. <br />
<br />
====CCARH Parts for Op. 8====<br />
The following parts for Antonio Vivaldi's Op.8 concerti accompany the full score available from Dover Publications:<br />
<br />
* Vivaldi, Antonio. "The Four Seasons" and Other Violin Concertos in Full Score; Opus 8, Complete. Ed. by Eleanor Selfridge-Field. Mineola, New York: Dover Publications; 1995. ISBN 0-486-28638-X.<br />
<br />
<center><br />
{{VivaldiOp8PDFTable}}<br />
</center><br />
<br><br />
<br />
===Op. 9: <i>La cetra. Concerti</i>===<br />
Vivaldi Concertos Op. 9, published in Amsterdam by Michel Charles Le Cène in Vols. 533 and 534 (datable from 1727), have the distinction of having been dedicated to the emperor Charles VI. The two met two years later in Trieste, where the emperor was more enraptured by Vivaldi's music and the intelligence with which he discussed it than with the diplomatic matters at hand. (Op. 9 is easily confused with a contemporary set of twelve unpublished concertos for violin also called "La Cetra," that Vivaldi presented to the Emperor during his 1729 visit, as part of a diplomatic delegation, to Trieste. <br />
<br />
The works of Op. 9 were not so widely circulated as those of other recent volumes of Vivaldi's music, and a few were not new. (Three of the works were known in alternative versions.) The popularity of the "Four Seasons" concertos (Op. 8, Nos. 1-4) blinded the public to Vivaldi's future prints, while Vivaldi's own interest in publishing instrumental music was also in decline after the appearance of this collection. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 9, No. 1 || RV 181a || [VPr]; V1 V2 V3 Va Vc Org || C Major || RV 180 || Example<br />
|-<br />
| Op. 9, No. 2 || RV 375 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 3 || RV 334 || [VPr]; V1 V2 V3 Va Vc Org || G Minor || || Example<br />
|-<br />
| Op. 9, No. 4 || RV 263a || [VPr]; V1 V2 V3 Va Vc Org || E Major || RV 263 || Example<br />
|-<br />
| Op. 9, No. 5 || RV 358 || [VPr]; V1 V2 V3 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 9, No. 6 || RV 348 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 7 || RV 359 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 8 || RV 238 || [VPr]; V1 V2 V3 Va Vc Org || D Minor || || Example<br />
|-<br />
| Op. 9, No. 9 || RV 530 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 10 || RV 300 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 9, No. 11 || RV 198a || [VPr]; V1 V2 V3 Va Vc Org || C Minor || RV 198 || Example<br />
|-<br />
| Op. 9, No. 12 || RV 391 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|}<br />
<br />
The part for <i>Violino Principale</i> is lost, although a manuscript part-book for it survives for a few works.<br />
<br />
===Op. 10: <i>VI Concerti a flauto traverso</i>===<br />
Six Concertos for Flute and String Orchestra, Op. 10; Related Variants<br />
<br />
As published, Vivaldi's Opus 10 is a straightforward collection of concertos for flute and string orchestra. <br />
Most works which originally called for obbligato flutes seem to have originated during the early 1720s, perhaps reflecting opportunities that Vivaldi encountered in Rome, where he stayed intermittently between c. 1719 and 1724. Although the transverse flute was then little known in Italy, the availability of an excellent player is was essential for the execution of several of his works for it. <br />
<br />
Opus 10 appeared in 1729, in rough coincidence with Vivaldi's violin concertos Opp. 11 and 12, but most of the work are likely to have composed years earlier. All three volumes were published in Amsterdam. Although published set was designed for a market oriented towards a standardized, relatively neutral instrumentation, the origins of the individual works were heterogeneous. The indications suggested by the related concertos listed on the lower half of the chart do not include subtle differences of instrumental alternatives and/or pairings--for example, an independent oboe part vs. an oboe part duplicating a second violin, a separate cello part vs. an unspecified Basso, and so forth. These are among the kinds of details that have necessitated separate listings for works that are musically similar. One manuscript source for No. 3 is scored for recorder rather than violin. <br />
<br />
The transverse flute and the recorder were both associated with a certain freedom of timbral choice. The so-called chamber concertos (RV 570, 90, and 101) for flute (or recorder), oboe, bassoon, violin, and bass can be understood to signify this sense of free play, rather than to represent a sub-genre cast in concrete. Although Vivaldi's chamber concertos had few analogues during Vivaldi's lifetime, they paved the way to a rich chamber repertory in the later eighteenth century.<br />
<br />
<center><br />
{{VivaldiOpl0PDFTable}}<br />
</center><br />
<br />
The first three works are the best known ones of the collection, but their nicknames accrued over time. Their programmatic allusions are largely confirmed in associated manuscripts. Storms at sea and phantoms of the night (the images cultivated by the first two pieces) were staples of opera staging at Venice's Teatro Sant'Angelo, the Venetian theater with which Vivaldi and his father were most consistently associated. Both played a prominent role in Venetian scene paintings contemporary with Vivaldi. <br />
<br />
The representation of sleep in the fourth movement of Op 10, No. 2, is illustrative of a fascination with dreams and the supernatural that was probed cautiously on the stage because of the pervasive scrutiny of religious censors. However, the dramatization of darkness fed Sant'Angelo's penchant for grottoes and grotesque scenes. It is darkness that the bassoon invokes in the manuscript RV 501 (the loose analogue of No. 2), where the the key is Bb Major rather than G Minor.<br />
<br />
Vivaldi's depictions of bird-calls (in Op. 10, No. 3 a bullfinch) were prevalent not only in his concertos but also in his operas, and in dozens of works by other composers of the time. Also elsewhere they often suggested the formal gardens that were so much promoted by the aristocracy, in Vivaldi's case they are more often a natural depiction of bucolic habitats consistent with the imagery of Arcadian shepherds than of programmed landscapes abroad. <br />
<br />
The <i>sopranino</i> recorder concerto RV 444 is a unique work among Vivaldi's <i>oeuvre</i>, although it could easily have been adapted to a different soloist. It would have suited a virtuoso of considerable renown.<br />
<br />
The parts provided here correspond to the Dover Publication entitled <i>Six Concertos for Flute and String Orchestra, Op. 10, and Related Variants</i>.<br />
<br />
===Op. 11: <i>Sei concerti</i>===<br />
In Opp. 11 and 12 Vivaldi returned to the practice of publishing six works at a time. His earlier 12-work prints are usually presented as two books of six, but there were practical benefits to grouping the works into two sets. Opp. 11 and 12 appear to be cut from the same cloth and may have been intended as a single publication. They appeared with consecutive print numbers (Nos. 545, 546) from presses of Michel Charles Le Cène in 1729. In comparison to all of Vivaldi's music printed since 1711 they were poorly circulated.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Related works !! Score <br />
|-<br />
| Op. 11, No. 1 || RV 207 || Concerto / VPr; V1 V2 Va Vc Bc || D Major || || Example<br />
|-<br />
| Op. 11, No. 2 || RV 277 || Concerto / VPr; V1 V2 Va Vc Bc || E Minor || Nicknamed "Il Favorito" || Example<br />
|-<br />
| Op. 11, No. 3 || RV 336 || Concerto / VPr; V1 V2 Va Vc Bc || A Major || || Example <br />
|-<br />
| Op. 11, No. 4 || RV 308 || Concerto / VPr; V1 V2 Va Vc Bc || G Major || || Example <br />
|-<br />
| Op. 11, No. 5 || RV 202 || Concerto / VPr; V1 V2 Va Vc Bc || G Minor || || Example <br />
|-<br />
| Op. 11, No. 6 || RV 260 || Concerto / VPr; V1 V2 Va Vc Bc || C Minor || Op. 9, No. 3 (RV 334) || Example<br />
|}<br />
<br />
===Op. 12: <i>Sei concerti</i>===<br />
Vivaldi's six concertos Op. 12 (1729) represent the final printed publication of his music. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 12, No. 1 || RV 317 || Concerto / VPr V1 V2 Va Vc Bc || G Minor || Example<br />
|-<br />
| Op. 12, No. 2 || RV 244 || Concerto / VPr V1 V2 Va Vc Bc || D Minor || Example<br />
|-<br />
| Op. 12, No. 3 || RV 124 || Concerto / VPr V1 V2 Va Vc Bc || D Major || Example<br />
|-<br />
| Op. 12, No. 4 || RV 173 || Concerto / VPr V1 V2 Va Vc Bc || C Major || Example<br />
|-<br />
| Op. 12, No. 5 || RV 379 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 12, No. 6 || RV 361 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|}<br />
<br />
==Unpublished instrumental works==<br />
<br />
The number of Vivaldi's unpublished instrumental pieces greatly exceeds those that were printed in the composer's lifetime. They generally follow the same lines and populate the same genres of sonata and concerto. The two most conspicuous differences between the published and unpublished works are that dates of composition are more difficult to pin down for the manuscript works and nearly all of the works with obbligato wind parts were never published. <br />
<br />
Why were works with obbligato winds not published in Vivaldi's time? The demand for works with wind parts was much lower, while learning to play the violin was a popular activity among noblemen. Numerous accounts of special occasions note the addition of local amateur players to orchestras for serenatas and sinfonias. Learning to play a bowed instrument conferred a certain prestige on the fledgling performer. <br />
<br />
In Italy wind instruments, which were not readily available, were required in music for particular kinds of ceremonies or scenes in operas. Nasal reeds, such as the oboe, were used in funeral music or to signify impending doom. Recorders and cross-flutes were associated with peasants and with dancing. Bassoons could signify the underworld. Among brasses, trumpets had been used discreetly to represent military advances and triumphs since before Vivaldi was born, but their appearances were few. <br />
<br />
Vivaldi's interactions with musicians from north of the Alps provided him with incentives to score parts for oboes, bassoons, recorders, cross-flutes, and other novel instruments. He also adapted some of his concertos with a wind instrument instead of a principal violin. Op. 10 is the only print that shows off his wind interests here, but the menu of works related to that set of six (grouped here with Op. 10) shows the latitude (or lack thereof) in adaptations. <br />
<br />
Yet in Italy the idea of using these different timbres together with strings was one that remained somewhat foreign at the end of Vivaldi's life. In his operas, winds were usually deployed in pairs. Quite often their use was limited to opening performances, when entrance fees were higher. Because their players were paid one night at a time, the wind parts did not always survive. Modern editions represent optimal versions of the work at hand, but the fact that many wind parts have only one or two solo episodes in an entire work and otherwise double string parts allows for some latitude in interpretation and some accommodation of strained circumstances.<br />
<br />
=Oratorios=<br />
== [http://wiki.ccarh.org/wiki/Juditha_triumphans <i>Juditha triumphans</i>] ==<br />
<br />
Click title to see separate webpage.<br />
<br />
= References =</div>Edchttps://wiki.ccarh.org/index.php?title=MuseData:_Antonio_Vivaldi&diff=10468MuseData: Antonio Vivaldi2021-03-24T04:22:26Z<p>Edc: /* Op. 12: Sei concerti */</p>
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<div>__TOC__<br />
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<br />
==Published Sonatas and Concertos==<br />
Antonio Lucio Vivaldi (1678-1741) is best known to modern audiences for his instrumental music. Like most composers of his time, Vivaldi composed in the formal medium of the sonata in his earliest publications (from 1703). His reputation was propelled by his concertos, the earliest of which appeared in 1711. This is still the genre with which he is most widely associated. <br />
<br />
===Op. 1: <i>Suonate da camera a trè, due violini e violone o cembalo</i>===<br />
Vivaldi's twelve sonatas Op. 1 are presumed to have been published prior to his appointment as <i>maestro di violino</i> at the Ospedale della Pietà, Venice, because he is described without reference to the institution as "<i>musico di violino, professore veneto</i>" (a violinist and teacher in the Veneto). The works were dedicated to the count Annibale Gambara, one of five sons in a big family of noblemen from Brescia (the city in which Vivaldi's father was born), a provincial capital in the western Veneto. The Gambara also had a modest palace on the Grand Canal in the Venetian parish of San Barnabà. <br />
<br />
[[File:Op1-12_Folia_V1.png|400px|thumb|center|Excerpt from the Violino primo (first violin) part of the Folìa of Vivaldi's Sonata Op. 1, No. 12 (Venice: Giuseppe Sala, 1705). Image from the partbook in the Conservatorio Benedetto Marcello, Venice. Used by permission.]]<br />
<br />
These trio sonatas contained various numbers of movements (3 to 6), most in binary form. The four outer works (Nos. 1, 2, 11, and 12) were in minor keys, the others in major ones. The best known work is Op. 1, No. 12, which features an ambitious <i>folìa</i> movement at its conclusion. The earliest surviving print of Op. 1 was published in Venice (G. Sala) in 1705. The collection was reprinted in Amsterdam in 1723 (E. Roger, as print No. 363), in Paris in 1759 (Le Clerc), and in Austria in 1759. Many movements are brief and musically simple, so much so that were one to judge from this opus alone, one would not have anticipated the kind of success that Vivaldi later found.<br />
<br />
{{VivaldiOp1PDF}}<br />
<br />
===Op. 2: <i>Sonate a violino e basso per il cembalo</i>===<br />
[[File:Carlevaris_FredIV_viaGetty-Google.png|575px|thumb|left|Detail of Luca Carlevaris's depiction of the regatta held on the Grand Canal, Venice, for Frederick IV of Denmark (1709). Reproduction of public-domain image from the Getty Museum as shown in the Google Art project.]]<br />
<br />
The trio sonata, over which Vivaldi had exhibited his command in Op. 1, had been the most prevalent instrumental genre of the 1690s, but in the first decade of the eighteenth century interest began to gravitate towards the "solo" sonata--a work in several movements one ensemble instrument and a basso continuo. In this 1709 collection by the Venetian publisher Antonio Bortoli Vivaldi pursued a more expressive vein of musical enticement. The opus was dedicated to the visiting young monarch Frederick IV of Denmark. As prince of Schleswig Holstein, his extended stay drew much artistic attention. No fewer that three operas were dedicated to him. <br />
<br />
Seven of these sonatas were cast in minor keys. The movement structure remained variable. Vivaldi was moving in the direction of fewer movements but with greater musical elaboration within each movement. He was still described as <i>musico di violino</i> but also as <i>maestro dei concerti</i> (concert-master) of the Ospedale della Pietà. <br />
<br />
{{VivaldiOp2PDF}}<br />
<br />
Like Op. 1, Op. 2 had a long after-life in both reprints and manuscript copies, mainly abroad. These included the publications of E. Roger (Amsterdam, 1712) and several editions (1721-1730) by I. Walsh J. Young (London).<br />
<br />
===Op. 3: <i>L'estro armonico: Concerti</i>=== <br />
[[File:Ferdinando_de'_Medici_c1687_Cassana.jpg|300px|thumb|right|Portrait of Ferdinando de' Medici, grand prince of Tuscany, in c. 1687 by the Venetian painter Niccolò Cassana. Wikimedia Commons.]]<br />
<br />
The first concertos by Vivaldi to reach print were those of Opus 3 (Amsterdam, 1711). With them Vivaldi suddenly became a celebrity, for although he was well known as a virtuoso, his previously published works had found a relatively modest reception. Vivaldi's titles remained as they were in Op. 2. Most composers described the contents of a publication in sufficient detail to indicate instrumentation, but Vivaldi settled for the word "Concerti" in order to allow space for the titles of his patron, the Grand Prince of Tuscany, [http://it.wikipedia.org/wiki/Ferdinando_de%27_Medici#Teatro Ferdinando III (1663-1713)]. The Grand Prince, who led a flamboyant life, enjoyed his visits to Venice, where however he contracted syphilis in 1696. This led to his premature death and changed the course of Tuscan (and imperial) history. Meanwhile, however, his patronage of music benefited many composers of the time including [http://en.wikipedia.org/wiki/Tomaso_Albinoni Tomaso Albinoni (1671-1751)], [http://en.wikipedia.org/wiki/Handel George Frederick Handel (1685-1759)], and [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Alessandro Scarlatti (1660-1725)]. His Bavarian wife, [http://it.wikipedia.org/wiki/Violante_Beatrice_di_Baviera Violante Beatrice (1673-1731)], was in many ways a still more significant supporter of individual singers and instrumentalists. <br />
<br />
Having now completed eight years' of teaching at the [[Ospedale of the Pietà]] in Venice, Vivaldi shows himself to have experimented with a variety of approaches to textures and groupings of instruments. These twelve works are arranged cyclically, such that Nos. 1, 4, 7, and 10 are scored for four violins and string orchestra; Nos. 2, 5, 8, and 11 for two violins, violoncello, and string orchestra; and Nos. 3, 6, 9, and 12 for solo violin (Violino Principale) and string orchestra. Within the <i>concertino</i> groups (four violins or, alternatively, two violins and violoncello), there is further separation. The "four violins" model often involves the pairing of the instruments such that one duo imitates another. This kind of experimentation is suggested by the word <i>estro</i>, which refers to gestational properties whereby one musical passage generates the need for the next. In musical terms, the sophistication of the idea represented an enormous step forward for Vivaldi, whose first sonatas were primitive and somewhat generic by comparison. <br />
<br />
Additionally, the music was more cogent than before, the organization manifestly rational. The imaginative scoring, careful markup, and newly pungent musical affects were novelties not found in Opp. 1 or 2. If he had leaned on the familiar models of [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Arcangelo Corelli (1753-1713)] before, Vivaldi was now producing music that was novel, ambitious, and aesthetically pleasing. Largely in coincidence with this publication, Vivaldi's concerts at the Pietà began to win plaudits from a succession of visiting dignitaries from abroad. <br />
<br />
Within the context of the early concerto, Op. 3 was equally noteworthy. The now elderly Corelli had perfected the <i>concerto grosso</i> [his [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli#The_Concerti_grossi_Op._6 Op. 6] would be published only posthumously in 1714]. Vivaldi's concertos for two and four violins had some debts to these works, but his concertos for solo violin and orchestra did not have Corellian models to follow. The trumpet concertos by [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Giuseppe Torelli (1658-1709)] are an oft mentioned alternative model, but Vivaldi's skills at articulation and exhibitionism were unrivaled. The violin was capable of much greater subtlety than the trumpet. <br />
<br />
====Dissemination of Individual Works from Op. 3====<br />
The <i>Concerti</i> Op. 3 were so popular that the entire opus was reprinted in Amsterdam within a year. Other reprints followed in both London and Paris through 1751. Because of the cyclical rotation of different combinations of instruments from work to work individual pieces in Op. 3 led themselves to diverse uses. The basic organization is shown in the table. Parsed one way, it is a four-fold cycle of three works. The textures vary with the instrumentation.<br />
<br />
Several works from Opus 3 took on lives of their own. Six works (indicated by an asterisk*) were transcribed by J. S. Bach, and there are faint clues that Bach may have transcribed them all. Bach was highly sensitive to the cyclical instrumentation of Vivaldi's collection: Nos 1, 4, 7, and 10 were set for two pairs of solo violins; Nos. 2, 5, 8, and 11 for a trio of soloists (two violins and violoncello); Nos. 3, 6, 9, and 12 for principal violin, in all cases with string orchestra. As the table below shows, Bach chose the second type an organ adaptation and the third type for concertos for harpsichord and strings, while the first type served as a model for his lone concerto for four harpsichords and strings. The trio sonata, which was at its peak in the years 1700-1710, was a popular reservoir for organ transcriptions in Germany, but the other adaptations had no such currency. Concertos for four harpsichords were unknown. <br />
<br />
Wide circulation of Vivaldi's concertos was further stimulated by John Walsh's edition of Op. 3 in <i>c.</i> 1715. In this print, the order of Nos. 6-9 was altered so that these concertos became Nos. 8, 9, 6, and 7). The clavichord transcriptions of Anne Dawson include many works in Vivaldi's Opp. 3 and 4 show a further dimension of the music's adaptation. Numerous transcriptions and copies survive in Europe and North America.<br />
<br />
====CCARH Scores and Parts for Opus 3====<br />
[[File:Op3DoverCover.jpg|100px||left]]<br />
<br />
CCARH cooperated with Dover Publications Inc. in producing the scores that appear in <i>L'estro armonico: Twelve Concertos for Violins and String Orchestra, Op. 3</i>. The cover is shown below. The collection entitled <i>L'estro armonico</i> was the first title under Vivaldi's name to draw widespread attention. It is likely that some of the work had already been performed in selected gatherings. The were profusely copied, arranged, and reprinted (with numerous variants) over the next few decades. <br />
<br />
For bound paper copies, see Vivaldi, Antonio. <i>"L'Estro armonico", Op. 3 in Full Score: 12 Concertos for Violins and String Orchestra</i>, ed. Eleanor Selfridge-Field (Mineola, New York: Dover Publications; 1999). Available from Amazon [http://www.amazon.com/exec/obidos/tg/detail/-/0486406318/themefinder/002-2800507-6138416 ISBN 0-486-40631-8] and Dover [http://store.doverpublications.com/review.html?pr_page_id=0486406318 ISBN 0-486-40631-8].<br />
</ul><br />
<br />
{{VivaldiOp3PDF}}<br />
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===Op. 4: <i>La Stravaganza: Concerti in six parts</i>===<br />
Vivaldi's violin concertos Op. 4 (announced in London on January 1, 1715) achieved a much broader penetration of the European market than any previous publication of his music. The collection, published in Amsterdam as Estienne Roger's prints Nos. 399 and 400, bore the title <i>La Stravaganza</i> (The Extravaganza), a designation popular at the time. In musical contexts it usually referred to chromatic harmonies, but in Vivaldi's case it forewarned prospective players of the challenges posed, epsecially for the principal violinist. (Up to this time, Roger had principally offered trio sonatas and concerti grossi, which were less demanding.) <br />
<br />
Op. 4 was a compendium of virtuoso techniques that were popularized by Vivaldi, who, as a performer, was known far and wide for his daring. His near-peers in this regard were violinist-composers such as Tomaso Albinoni and Lodovico Madonis, but their most demanding works appeared some years later and were less widely distributed. Op. 4 was dedicated to a Venetian nobleman, Vettor Delfin, whose family were largely engaged in military affairs. With only one exception (Op. 4, No. 7), the concertos were written in three movements. <br />
<br />
At the time Op. 4 appeared, Vivaldi had been filling holes left by the departure of [http://it.wikipedia.org/wiki/Francesco_Gasparini Francesco Gasparini (1661-1727)] at the Pietà. He was now turning his attention to motets and oratorios <i>per force</i> to bridge the gap left by Gasparini. It is therefore likely that most of these pieces were composed before the elder <i>maestro</i>'s departure. Reprints of Op. 4 appeared in 1723, 1728, and 1730, but selected individual works enjoyed independent circulation. Vivaldi had now reached the point where demand for his instrumental music exceeded the amount of time he could afford to devote to it. It may be for this reasons that echoes of Op. 4 appear in a few later works by Vivaldi. Op. 7, No. 1, for example, was a first cousin of Op. 4, No. 9; mMyriad other variants of this set were quoted in later works. The cumulative effect was a splintering of work-identities that still confuse musicians today. Vivaldi himself adapted many of his works to suit new purposes as appropriate occasions arose. <br />
<br />
{{VivaldiOp4PDF}}<br />
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===Op. 5: <i>VI Sonate/quatro à violino solo e basso e due a due violini e basso continuo</i>===<br />
Four of the six sonatas of Op. 5, published in Amsterdam (1716) as Estienne Roger's print No. 418, may have been remainders of Vivaldi's Op. 2, an opus consisting of a dozen solo violin sonatas. In Op. 5 we find four solo sonatas and trio sonatas. During the visit of the young Danish king Frederick Christian IV to Venice in the winter of 1709, a great many banquets and balls were planned. Easily half of them were canceled either by hosts or guests because many people (including the doge and one of the Republic's official hosts) died. No autograph material for this opus survives. Op. 2 had been dedicated to Frederick Christian, but Op. 5 was an orphan of sorts. It contained a mixed repertory, lacked a dedicatee, and found insufficient popularity to prompt reprints. Few works were copied in manuscript. An exception was the first movement of Op. 5, No. 6, which was included in J. B. Cartier's <i>L'Art du Violon</i> (Paris, 1798). <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 5, No. 1 || RV 18 || Sonata / V, BC || F Major || Example<br />
|-<br />
| Op. 5, No. 2 || RV 30 || Sonata / V, BC || A Major || Example<br />
|-<br />
| Op. 5, No. 3 || RV 33 || Sonata / V, BC || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 4 || RV 35 || Sonata / V, BC || B Minor || Example<br />
|-<br />
| Op. 5, No. 5 || RV 76 || Sonata / V1, V2, BC || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 5, No. 6 || RV 72 || Sonata / V1, V2, BC || G Minor || Example<br />
|}<br />
<br />
===Op. 6: <i>VI Concerti à cinque strumenti: 3 violini, alto viola, e basso continuo</i>===<br />
The six concertos for violin and strings of Op. 6, published in Amsterdam in 1716-1717 by Jeanne Roger (as her firm's print No. 452) represent both a continuation and a departure. The instrumental requirements are identical to those of Op. 4: they require a principal violin and a small string orchestra. This short collection could have served as a supplement to Op. 4, given the pattern set by Opp. 2 and 5 (another short set). The absence of a dedicatee and sundry details of the music suggest that Vivaldi did not actively seek this publication and that the print was therefore unauthorized. Mme. Roger heralded Vivaldi's titles as <i>maestro di violino</i> and <i>maestro di concerti</i> at the Pietà. <br />
<br />
Musically, five of the six works are in minor keys. Again forming a parallel with Op. 5, it was not followed by myriad other editions, although Le Cène brought out one (undated) reprint.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 6, No. 1 || RV 324 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 2 || RV 259 || Converto / VPr; V1 V2 Va Vc Org || C Minor || Example<br />
|-<br />
| Op. 6, No. 3 || RV 318 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 4 || RV 216 || Concerto / VPr; V1 V2 Va Vc Org || D Major || Example<br />
|-<br />
| Op. 6, No. 5 || RV 280 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || Example<br />
|-<br />
| Op. 6, No. 6 || RV 239 || Concerto / VPr; V1 V2 Va Vc Org || D Minor || Example<br />
|}<br />
<br />
===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===<br />
<br />
Vivsaldi's 12 concertos <i>a 5</i> (meaning three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for the solo episodes of the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained three movements. One can see that Vivaldi's idea of concerto had evolved considerably over a decade. The oboe arrangements of Nos. 1 and No. 7, as well as No. 9 (reset for oboe in a later opus) are now considered spurious. <br />
<br />
As scores passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his concertos began to take on a life of their own. No. 1 was revised by Johann Pisendel (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden Hofkapelle. <br />
No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro." No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in Walsh & Hare's anthology <i>Select Harmony</i> (1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work incudes a written cadanza. It was also transcribed by J. S. Bach for organ as BWV 594. Parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 7, No. 1 || RV 465 || Concerto / Ob (VPr) V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 143 || Example<br />
|-<br />
| Op. 7, No. 2 || RV 188 || Concerto / VPr; V1 V2 Va Vc Org || C Major || || Example<br />
|-<br />
| Op. 7, No. 3 || RV 326 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || RV 370 || Example<br />
|-<br />
| Op. 7, No. 4 || RV 354 || Concerto / VPr; V1 V2 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 7, No. 5 || RV 285a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 285 || Example<br />
|-<br />
| Op. 7, No. 6 || RV 374 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 7, No. 7 || RV 464 || Concerto / Ob (VPr) V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 142 || Example<br />
|-<br />
| Op. 7, No. 8 || RV 299 || Concerto / VPr; V1 V2 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 7, No. 9 || RV 373 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 153 || Example<br />
|-<br />
| Op. 7, No. 10 || RV 294a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 294 || Example<br />
|-<br />
| Op. 7, No. 11 || RV 208a || Concerto / VPr; V1 V2 Va Vc Org || D Major || BWV 594 (organ) || Example<br />
|-<br />
| Op. 7, No. 12 || RV 214 || Concerto / VPr; V1 V2 Va Vc Org || D Major || || Example<br />
|}<br />
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===Op. 8: <i>Il cimento dell'armonia e dell'invenzione: Concerti a quattro e cinque</i>===<br />
Vivaldi's most famous opus was published in Amsterdam by Michel Charles Le Cène in 1725. It is clear, though, that various portions of sundry works had been written earlier. What was perhaps new was the formalization of the scheme, complete with the texts of the sonnets with which they were coordinated, of the first four concertos--The Four Seasons. These works, and their cyclical organization, captured the imagination of many and led to a "Four Seasons" industry of arrangements performances that extends to the current day. <br />
<br />
Unlike other opuses that postdated Vivaldi's move to Mantua, this one resumed the practice of dedicating the collection to a nobleman, in this case Venceslas, count of Morzin (also Morcin, spelled Marzin in the print itself). (Two concertos known only in manuscript, RV 449 and 496, were also dedicated to the count. <br />
He was Bohemian with townhouses in Prague and Vienna. He was an occasional patron of Venetian opera. Prague, the capital of Bohemia, was a thriving city was rapidly developing enterprises focused on opera and on the development of string music. One can see how poetic justice prevailed in this dedication: Bohemians not only loved music but were happy to master its component parts. <br />
<br />
This opus was more popular in France than anywhere else. Parisian reprints issued from the presses of Madame Boivin (c. 1739, 1743, 1748). Manuscripts were widely circulated. Rearrangements of portions of the opus were opus also proliferated. In Dresden, the orchestration of some works was enriched by Johann Pisendel, who also elaborated some of the articulation. <br />
<br />
In the works as a set, major keys predominate. Nos. 7, 9, AND 11 are known in alternative versions. The final of movement of Op. 8, No. 11 presents a particularly complex web of revisions to the alternation of tutti and solo. <br />
<br />
====CCARH Parts for Op. 8====<br />
The following parts for Antonio Vivaldi's Op.8 concerti accompany the full score available from Dover Publications:<br />
<br />
* Vivaldi, Antonio. "The Four Seasons" and Other Violin Concertos in Full Score; Opus 8, Complete. Ed. by Eleanor Selfridge-Field. Mineola, New York: Dover Publications; 1995. ISBN 0-486-28638-X.<br />
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{{VivaldiOp8PDFTable}}<br />
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===Op. 9: <i>La cetra. Concerti</i>===<br />
Vivaldi Concertos Op. 9, published in Amsterdam by Michel Charles Le Cène in Vols. 533 and 534 (datable from 1727), have the distinction of having been dedicated to the emperor Charles VI. The two met two years later in Trieste, where the emperor was more enraptured by Vivaldi's music and the intelligence with which he discussed it than with the diplomatic matters at hand. (Op. 9 is easily confused with a contemporary set of twelve unpublished concertos for violin also called "La Cetra," that Vivaldi presented to the Emperor during his 1729 visit, as part of a diplomatic delegation, to Trieste. <br />
<br />
The works of Op. 9 were not so widely circulated as those of other recent volumes of Vivaldi's music, and a few were not new. (Three of the works were known in alternative versions.) The popularity of the "Four Seasons" concertos (Op. 8, Nos. 1-4) blinded the public to Vivaldi's future prints, while Vivaldi's own interest in publishing instrumental music was also in decline after the appearance of this collection. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 9, No. 1 || RV 181a || [VPr]; V1 V2 V3 Va Vc Org || C Major || RV 180 || Example<br />
|-<br />
| Op. 9, No. 2 || RV 375 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 3 || RV 334 || [VPr]; V1 V2 V3 Va Vc Org || G Minor || || Example<br />
|-<br />
| Op. 9, No. 4 || RV 263a || [VPr]; V1 V2 V3 Va Vc Org || E Major || RV 263 || Example<br />
|-<br />
| Op. 9, No. 5 || RV 358 || [VPr]; V1 V2 V3 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 9, No. 6 || RV 348 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 7 || RV 359 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 8 || RV 238 || [VPr]; V1 V2 V3 Va Vc Org || D Minor || || Example<br />
|-<br />
| Op. 9, No. 9 || RV 530 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 10 || RV 300 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 9, No. 11 || RV 198a || [VPr]; V1 V2 V3 Va Vc Org || C Minor || RV 198 || Example<br />
|-<br />
| Op. 9, No. 12 || RV 391 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|}<br />
<br />
The part for <i>Violino Principale</i> is lost, although a manuscript part-book for it survives for a few works.<br />
<br />
===Op. 10: <i>VI Concerti a flauto traverso</i>===<br />
Six Concertos for Flute and String Orchestra, Op. 10; Related Variants<br />
<br />
As published, Vivaldi's Opus 10 is a straightforward collection of concertos for flute and string orchestra. <br />
Most works which originally called for obbligato flutes seem to have originated during the early 1720s, perhaps reflecting opportunities that Vivaldi encountered in Rome, where he stayed intermittently between c. 1719 and 1724. Although the transverse flute was then little known in Italy, the availability of an excellent player is was essential for the execution of several of his works for it. <br />
<br />
Opus 10 appeared in 1729, in rough coincidence with Vivaldi's violin concertos Opp. 11 and 12, but most of the work are likely to have composed years earlier. All three volumes were published in Amsterdam. Although published set was designed for a market oriented towards a standardized, relatively neutral instrumentation, the origins of the individual works were heterogeneous. The indications suggested by the related concertos listed on the lower half of the chart do not include subtle differences of instrumental alternatives and/or pairings--for example, an independent oboe part vs. an oboe part duplicating a second violin, a separate cello part vs. an unspecified Basso, and so forth. These are among the kinds of details that have necessitated separate listings for works that are musically similar. One manuscript source for No. 3 is scored for recorder rather than violin. <br />
<br />
The transverse flute and the recorder were both associated with a certain freedom of timbral choice. The so-called chamber concertos (RV 570, 90, and 101) for flute (or recorder), oboe, bassoon, violin, and bass can be understood to signify this sense of free play, rather than to represent a sub-genre cast in concrete. Although Vivaldi's chamber concertos had few analogues during Vivaldi's lifetime, they paved the way to a rich chamber repertory in the later eighteenth century.<br />
<br />
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{{VivaldiOpl0PDFTable}}<br />
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The first three works are the best known ones of the collection, but their nicknames accrued over time. Their programmatic allusions are largely confirmed in associated manuscripts. Storms at sea and phantoms of the night (the images cultivated by the first two pieces) were staples of opera staging at Venice's Teatro Sant'Angelo, the Venetian theater with which Vivaldi and his father were most consistently associated. Both played a prominent role in Venetian scene paintings contemporary with Vivaldi. <br />
<br />
The representation of sleep in the fourth movement of Op 10, No. 2, is illustrative of a fascination with dreams and the supernatural that was probed cautiously on the stage because of the pervasive scrutiny of religious censors. However, the dramatization of darkness fed Sant'Angelo's penchant for grottoes and grotesque scenes. It is darkness that the bassoon invokes in the manuscript RV 501 (the loose analogue of No. 2), where the the key is Bb Major rather than G Minor.<br />
<br />
Vivaldi's depictions of bird-calls (in Op. 10, No. 3 a bullfinch) were prevalent not only in his concertos but also in his operas, and in dozens of works by other composers of the time. Also elsewhere they often suggested the formal gardens that were so much promoted by the aristocracy, in Vivaldi's case they are more often a natural depiction of bucolic habitats consistent with the imagery of Arcadian shepherds than of programmed landscapes abroad. <br />
<br />
The <i>sopranino</i> recorder concerto RV 444 is a unique work among Vivaldi's <i>oeuvre</i>, although it could easily have been adapted to a different soloist. It would have suited a virtuoso of considerable renown.<br />
<br />
The parts provided here correspond to the Dover Publication entitled <i>Six Concertos for Flute and String Orchestra, Op. 10, and Related Variants</i>.<br />
<br />
===Op. 11: <i>Sei concerti</i>===<br />
In Opp. 11 and 12 Vivaldi returned to the practice of publishing six works at a time. His earlier 12-work prints are usually presented as two books of six, but there were practical benefits to grouping the works into two sets. Opp. 11 and 12 appear to be cut from the same cloth and may have been intended as a single publication. They appeared with consecutive print numbers (Nos. 545, 546) from presses of Michel Charles Le Cène in 1729. In comparison to all of Vivaldi's music printed since 1711 they were poorly circulated.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Related works !! Score <br />
|-<br />
| Op. 11, No. 1 || RV 207 || Concerto / VPr; V1 V2 Va Vc Bc || D Major || || Example<br />
|-<br />
| Op. 11, No. 2 || RV 277 || Concerto / VPr; V1 V2 Va Vc Bc || E Minor || Nicknamed "Il Favorito" || Example<br />
|-<br />
| Op. 11, No. 3 || RV 336 || Concerto / VPr; V1 V2 Va Vc Bc || A Major || || Example <br />
|-<br />
| Op. 11, No. 4 || RV 308 || Concerto / VPr; V1 V2 Va Vc Bc || G Major || || Example <br />
|-<br />
| Op. 11, No. 5 || RV 202 || Concerto / VPr; V1 V2 Va Vc Bc || G Minor || || Example <br />
|-<br />
| Op. 11, No. 6 || RV 260 || Concerto / VPr; V1 V2 Va Vc Bc || C Minor || Op. 9, No. 3 (RV 334) || Example<br />
|}<br />
<br />
===Op. 12: <i>Sei concerti</i>===<br />
Vivaldi's six concertos Op. 12 (1729) represent the final printed publication of his music. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 12, No. 1 || RV 317 || Concerto / VPr V1 V2 Va Vc Bc || G Minor || Example<br />
|-<br />
| Op. 12, No. 2 || RV 244 || Concerto / VPr V1 V2 Va Vc Bc || D Minor || Example<br />
|-<br />
| Op. 12, No. 3 || RV 124 || Concerto / VPr V1 V2 Va Vc Bc || D Major || Example<br />
|-<br />
| Op. 12, No. 4 || RV 173 || Concerto / VPr V1 V2 Va Vc Bc || C Major || Example<br />
|-<br />
| Op. 12, No. 5 || RV 379 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
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| Op. 12, No. 6 || RV 361 || Concerto / VPr V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|}<br />
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==Unpublished instrumental works==<br />
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The number of Vivaldi's unpublished instrumental pieces greatly exceeds those that were printed in the composer's lifetime. They generally follow the same lines and populate the same genres of sonata and concerto. The two most conspicuous differences between the published and unpublished works are that dates of composition are more difficult to pin down for the manuscript works and nearly all of the works with obbligato wind parts were never published. <br />
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Why were works with obbligato winds not published in Vivaldi's time? The demand for works with wind parts was much lower, while learning to play the violin was a popular activity among noblemen. Numerous accounts of special occasions note the addition of local amateur players to orchestras for serenatas and sinfonias. Learning to play a bowed instrument conferred a certain prestige on the fledgling performer. <br />
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In Italy wind instruments, which were not readily available, were required in music for particular kinds of ceremonies or scenes in operas. Nasal reeds, such as the oboe, were used in funeral music or to signify impending doom. Recorders and cross-flutes were associated with peasants and with dancing. Bassoons could signify the underworld. Among brasses, trumpets had been used discreetly to represent military advances and triumphs since before Vivaldi was born, but their appearances were few. <br />
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Vivaldi's interactions with musicians from north of the Alps provided him with incentives to score parts for oboes, bassoons, recorders, cross-flutes, and other novel instruments. He also adapted some of his concertos with a wind instrument instead of a principal violin. Op. 10 is the only print that shows off his wind interests here, but the menu of works related to that set of six (grouped here with Op. 10) shows the latitude (or lack thereof) in adaptations. <br />
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Yet in Italy the idea of using these different timbres together with strings was one that remained somewhat foreign at the end of Vivaldi's life. In his operas, winds were usually deployed in pairs. Quite often their use was limited to opening performances, when entrance fees were higher. Because their players were paid one night at a time, the wind parts did not always survive. Modern editions represent optimal versions of the work at hand, but the fact that many wind parts have only one or two solo episodes in an entire work and otherwise double string parts allows for some latitude in interpretation and some accommodation of strained circumstances.<br />
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=Oratorios=<br />
== [http://wiki.ccarh.org/wiki/Juditha_triumphans <i>Juditha triumphans</i>] ==<br />
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Click title to see separate webpage.<br />
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= References =</div>Edc