FORMAT FOR CCARH S-FILES (source files)
            ---------------------------------------
                       Version 4.02
                       (05/03/2003)
                     (revised 4-26-05)
                     (revised 1-06-06)
                     (revised 4-22-08)
                     (revised 1-11-09)

      A CCARH S-file is organized as a set of variable length
records.  Each S-file describes the music in one musical part
of a musical work.  A musical part may consist of one or more
lines of music.  For example, Oboe I and Oboe II may be
combined on one staff and therefore be considered as one
musical part (Oboes).  Music on the grand staff may be
considered as one or two parts.  If musical notation or
symbols cross between the staves of the grand staff, then the
music on the grand staff must be treated as one musical
part.

      An S-file has three sections: a header, the main section
containing the primary musical data, and an auxiliary section
containing footnote data.  The third section of the S-file is
optional.

      The first nine records of the S-file header provide infor-
mation on the encoding process (date and encoder), the musical
work (work and movement numbers and titles), and the source of the
data.  Record 10 identifies the part groups to which this part
belongs.  For example, there may be files for Oboe I, Oboe II and
Oboe I,II combined.  Oboe I,II would belong to the group called
"fullscore," whereas the Oboe I and Oboe II parts by themselves
would belong to the group called "parts" (but not to fullscore).
In addition, if the Oboe parts are musically independent, they
might belong to a group called "tracks."  The names and arrange-
ments of the groups and parts is left to the encoder.  For each
group to which a part belongs, there is a record (starting with
record 12) giving the group name and the sequence number of that
part in that group.  The arrangement of the parts into various
groups allows flexibility in printing full scores, short scores,
and individual instrumental parts.  It makes possible the repre-
sentation of vocal soloist parts both as separate parts (for
analysis) and combined with other soloists (e.g., as in recitatives).
It makes possible the representation of keyboard works both as
single files (for printing) and as separate tracks (for analysis).

Header Format

   record 1:  free
   record 2:  free
   record 3:  free
   record 4:  [date]  [encoder]
   record 5:  WK#:[work number]   MV#:[movement number]
   record 6:  [source]
   record 7:  [work title]
   record 8:  [movement title]
   record 9:  [name of part]
   record 10: free (we put in [mode], [movement type] and [voice])
   record 11: Group memberships: [name1] [name2] ...
   record 12: [name1]: part [x] or [number in group]
   record 13:  ...
     ... (as needed)

   Note: In the typesetting process, a part name (record 9) can be
         forced onto two lines by incerting "//" at the desired
         break.


      The main section of an S-file follows directly after the
header.  The end of the main section is marked by a special
end-of-movement record consisting of the five characters,
"/FINE".  All records between the header and the /FINE record
are data records (with the exception of records between comment
designator flags).  The order of these records is an integral
part of the information contained in the file.  The first
character in each data record functions as a control code,
describing the type of information contained in the record.
For certain data types, such as notes, the first character also
contains data information.  This system of describing record
types with a control code allows for significant future
expansion of the the S-file format.  At the moment, there are
twenty-one control codes and fourteen data types.

      The optional footnote section begins after the /FINE
record.  The end of an S-file is marked by a special end-of-file
record consisting of the four characters, "/END".  If there is
no footnote section, the /FINE record may be omitted.  The
format of the footnote section is left up to discretion of the
encoder.  The footnote section may contain musical data.  In
this case, a record with an exclamation mark (!) in column one
is used to signal that records in the musical data format will
follow.  A second record with an (!) in column one will signal
that the the following records are no longer in the musical data
format.

      S-file data may come from several sources.  There may
be more than one original source, and there may also be one
or more levels of editorial additions/corrections to the musical
data.  It is important that the S-file format be able to dis-
tinguish between these various sources and levels of information.
Because of the complicated nature of this problem, several
methods are provided for tagging data according to source.

1. Level numbers

      The principal technique for distinguishing between sources
and/or levels of editing are the level numbers.  Each data record
has a column set asside for labelling that record as belonging to
a particular level.  In this manner, any musical attributes (e.g.
time signature, key, tempo designation), any musical directives
(e.g. dynamics, tempo changes, etc.), any musical notes or bar
lines may be identified with a particular source or level of
editing.  In addition, a wide variety of musical notations which
are attached to a note such as ornaments, articulations, slurs,
phrase markings, fingerings, local dynamics, etc., may assigned a
level number.  In this way, the same note may have editorial
markings from several different levels attached to it.  There are
35 possible levels, and the assignment of meaning to these levels
is the responsibility of the encoder.

2. Footnotes

      Every data record has a column set asside for specifying
a footnote.  The set of characters used in the footnote column
and the assignment of their meaning is left to the discretion of
the encoder.  The purpose of the footnotes is to provide the
encoder the opportunity to add additional information at various
points in the data file.  Such information might include
alternate readings, additional measures of music, written out
ornaments, or any discussion of the sources or the editorial
process.

3. Font designators

      One way that editions distinguish between the various
levels of editing is by using different fonts.  For example,
upright as opposed to italic fonts may be used to indicate
designations which appear in the orignal source.  Source
distinctions may also be indicated through the use of different
font sizes.  The S-file font designator provides a method of
specifying different fonts and thereby distinguishing the
sources of information.  The font designator is a one digit
number, the interpretation of which is left up to the encoder.
In cases where the font designator is introduced as part of a
line of ASCII data (e.g., "un poco f", with the "f" being in a
different font from the "un poco"), the character "!" followed
immediately by the font number is used (e.g., un poco !1f, where
1 in this example might be the encoder's designator for the
standard music font).

Data Types

      At the moment there are fourteen data types:

   1. musical attributes
   2. musical directions
   3. bar lines
   4. regular notes and rests
   5. extra note in a regular chord
   6. grace notes and cue notes
   7. extra grace/cue note in a chord
   8. figured harmony
   9. forward or back space in time
  10. continuation line
  11. comments
  12. end of music/end of file
  13. sound directions
  14. print suggestions

Special concepts and requirements for CCARH music printing

   In addition to the formal structure of the S-file, there are some
extra rules that must be followed in order for the CCARH Autoset program
to process the files for display and printing.

   1. Concept of division pointer

        S-files are a set of ordered records; roughly speaking, the order
     is chronological.  The time keeper is an invisible pointer called
     the division pointer.  The division pointer is set to 1 at the
     beginning of each measure.  Duration values in columns 6-8 (regular
     notes and rests, irests and backups) advance or backup the division
     pointer.  The division pointer should not be backed up to less than
     one.  You cannot backup over a measure boundary.  The time length
     of a measure is defined by the greatest value attained by the
     division pointer.  The CCARH Autoset program requires that the
     final value of the division pointer be equal to its greatest value.

   2. Concept of the figure division pointer

        Whereas figured harmonies are normally located on a division
     pointer boundary, it sometimes happens that we would like figured
     harmonies to be offset (forward) from a division pointer.  In this
     case, the offset value is determined by the figure division pointer.
     For each advance of the division pointer, the figure division
     pointer is set to zero.  The figure division pointer is advanced
     by figured harmony data by the amount specified in columns 6-8.
     The CCARH Autoset program requires that the sum of a division
     pointer and its associated figure division pointer must always be
     less than the final value of the division pointer (time length
     of the measure).

   3. Concept of the musical direction offset

        Musical directions are normally located on a division pointer
     boundary, but there are occasions when we would like musical
     directions to be offset (forward) from a division pointer.
     In this case, the offset value is contained in columns 6-8.
     The CCARH Autoset program requires that the sum of a division
     pointer any musical direction offset associated with it must
     always be less than the final value of the division pointer
     (time length of the measure).

   4. Concept of the cue note pointer

        Cue notes do not advance the division pointer; they have their
     own time pointer, the cue note pointer.  Any advance of the
     division pointer sets the cue note pointer to zero.  The cue note
     pointer is advanced by the note value of the cue note.  In this
     respect, cue notes are not as flexible as regular notes; i.e.,
     the set of possible lengths is limited to what regular notation
     allows.  Autoset converts the cue note duration (e.g., eighth note)
     into a fixed number of divisions, and this amount is added to
     the division pointer to determine the location of the cue note.
     The CCARH Autoset program requires that the final value of the
     cue note pointer + the division pointer must always be less than
     the final value of the division pointer (time length of the
     measure).

   5. Grace notes

        Grace notes take their logical position from the value of the
     division pointer.  As far as Autoset is concerned, grace notes
     are "piled on top of" whatever regular musical object comes next
     in the file.  Space is later made for them to precede that object.
     Graces note normally precede regular notes; but they may also
     precede rests or a measure line.

   6. Order of objects at the end of a measure

        When the division pointer is at its greatest (final) value, it
     is still possible to place objects of the types: musical attributes
     and musical directions.  When both types occur at the end of a
     measure, The CCARH Autoset program requires that musical attributes
     (i.e., records starting with $) be placed first, followed by
     musical directions (i.e., records starting with *).  Left
     unexplained at this point is where grace notes fit into this order
     (since grace notes can also occur at the end of a measure).
     I don't know the answer.


Data Format -- control code in column one

   1. Musical attributes:  control code = $

      column 1:        "$"

      column 2:        level number (optional)

      column 3:        footnote column

      columns 4--80:   attribute fields

        record may contain one or more fields; fields are
          initiated by the field identifier and terminated by a
          blank.  In the case of clefs and directives, the
          field identifier may contain a number, which is the
          staff (1 or 2 at the moment) to which the clef or
          directive belongs.  The absence of a number indicates
          staff number one.


                                           field       field
              field type                 identifier  data type
        ----------------------           ----------  ---------
         key                                 K:       integer (integer)
         divisions per quarter note          Q:       pos. int.
         time designation                    T:     two integers
         clef                                C:       integer
         clef                                C#:      integer
         transposing part                    X:       integer
         number of staves for part           S:       integer (def = 1)
         number of instruments represented   I:       integer (def = 1)
         directive (last field on line)      D:     ASCII string
         directive (last field on line)      D#:    ASCII string

        example:   K:-2  Q:8  T:3/8  C:4   C2:22
                   D:Allegro ma non troppo

        key code:  The numbers -7 to +7 are reserved for standard
                   key signatures.  Minus numbers are for flats;
                   Positive numbers are for sharps.

                   It is possible to specify accidentals in
                   editorial brackets.   Sharps may be added as a
                   positive number in parentheses; flats may be
                   added as a negative number in parentheses.
                   Examples:  K:2(+1)  K:0(+2)  K:0(-1)  K:-2(-1)
                   Not allowed:  K:2(-1)   K:-1(+1)

                   Other integer codes may be assigned at the
                   discretion of the encoder.

        time designation:  Time designation is given by two non-
                   negative integers separated by a slash (/).
                   The first integer is normally the time numerator
                   and the second integer is normally the time
                   denominator.  Special codes for time signatures
                   are shown below:

                        1 1 = common time
                        0 0 = alla breve
                        2 0 = simple 2
                        3 0 = simple 3

                   Other codes with a 0 denominator may be devised
                   by the encoder to represent special time
                   notations.

        divisions per quarter note:  This parameter can only be
                   specified at the beginning of a piece or directly
                   after a controlling bar line.  Specifying it
                   at other locations makes it difficult to combine
                   separate parts for printing and for MIDI output.

        clef code: The standard clefs are represented by a positive
                   integer between 1 and 85.  The tens digit of the
                   code specifies the clef sign and the ones digit
                   specifies the staff line to which the clef sign
                   refers.

                   clef sign codes: 0 = G-clef
                                    1 = C-clef
                                    2 = F-clef
                                    3 = G-clef transposed down
                                         (modern clef for tenors)
                                    4 = C-clef      "     down
                                    5 = F-clef      "     down
                                    6 = G-clef      "     up
                                    7 = C-clef      "     up
                                    8 = F-clef      "     up

                   line numbers:    1 = highest line
                                    5 = lowest line

                   note: a clef code = 0 denotes a single line staff
                         for use with certain percussion instruments


        transposing part:  This integer (positive or negative)
                   indicates a transposing interval, if there is
                   one, and/or a doubling of the part an octave
                   lower.  The base-40 system is used.  23 means
                   the music sounds a fifth higher than it is
                   written; -23 means the music sounds a fifth
                   lower than it is written.  Adding 1000 to the
                   number indicates a doubling of the part an
                   octave lower (e.g., vc and bass on the same
                   part or 8' and 16' sound on an organ pedal
                   line.)

        number of staves:  This integer (1 or 2 at the moment)
                   indicates the number of staves the part or
                   parts will be written on.  This number can
                   change within a movement.  The number of staves
                   will automatically be set to 2 if a "C2:" or
                   a "D2:" is encountered.

        number of instruments represented:  This integer (1 or more)
                   indicates the number of independent instruments
                   represented by the parts.  If this number is more
                   than one, certain printing conventions will hold.
                     (1) notes with the same stem direction will be
                         combined into one chord
                     (2) if more than one voice is represented in a
                         measure on a staff, then each voice will
                         follow its own set of accidentals within
                         the measure.

        directive: This ASCII string data group is terminated by
                   the end of the record.  For this reason, if
                   a record contains a directive, the directive
                   must be the last field of the record.  Directives
                   may contain font designators.

   2. Musical directions:  control code = *

        column 1:      "*"

        columns 2-5:   blank

        columns 6-8:   optional forward offset (measured in units of
                         duration and right justified in the field).
                         Use of this field allows the encoder to
                         place a musical direction at a division
                         that does not otherwise contain a musical
                         record.

        columns 9-12:  blank

        columns 13-15: footnote and level information

          column 13: footnote flag (blank = none)
          column 14: level number (optional)
          column 15: track number (necessary if two or more wedges,
                       sets of dashes, 8va transpositions, etc.)

        column 16:     blank

        columns 17-18: type of direction (one or two letters)

          1. rehearsal numbers/letters
            A = segno sign

          2. directions expressed in words
            B = right justified ASCII string
            C = centered ASCII string
            D = left justified ASCII string
             (may be combined with types E,F,G,H,J)

          3. wedges
            E = begin wedge
            F = end wedge
             (may be combined with types B,C,D,G)

          4. letter dynamics
            G = letter dynamics           (given in ASCII string)
             (may be combined with types B,C,D,E,F,H,J)

          5. dashes ( - - - - - )
            H = begin dashes (after words)
            J = end dashes
             (may be combined with types B,C,D,G)

          6. pedal (pianoforte)
            P = begin pedal: Ped.
            Q = release pedal:  *

          7. rehearsal numbers or letters in a box
            R = rehearsal number or letter
               This generates a "D" type record with
               a box around it.  The font size and the
               length of the string determine the size of
               the box.

          8. octave shifts (in the printing process)
            U = shift notes up (usually by 8va)
            V = shift notes down (usually by 8va)
            W = stop shift
               Notes that are difficult to notate because they are
               very low (usually in bass clef) are shifted up; notes
               that are difficult to notate because they are very
               high (usually in treble clef) are shifted down.

          9. tie terminators
            X = tie terminator (generates a Mark object)
               The pitch of the tie being terminated appears starting
               in column 25.

               Note: For the moment, the following arcane rule should be
                     observed in order to make the software work properly:
                     If a tie terminator is used to terminate a tie from
                     the previous measure, the previous "measure" record
                     should be so marked with a "&" flag.

        column 19:     location flag (optional)

            ' ' = indication below line
             +  = indication above line
             (may be used by types A,B,C,D,E,F,G,H)

        column 20:     blank

        columns 21-23: numerical parameter (optional)

             for types E and F:    wedge spread
             for types U and V:    shift size (when not 8va)

             Wedge spread is measured in tenths of staff line
             space.  10 units = space between two staff lines

        column 24:     staff number (' ' = 1)

            Used in the case of music represented on more than
            one staff.


        columns 25..:  ASCII word string    used in A,B,C,D,G and X

     Examples:

        1. cresc. - - - - - - - -  ff

           Starting record:  DH      cresc.
           Ending record:    JG      ff

        2. f <decreasing wedge> p

           Starting record:  GE  15  f
           Ending record:    FG   0  p

        3. <increasing wedge> p

           Starting record:  E    0
           Ending record     FG  15  p

   3. Bar line:  control code = m

        column 1:      "m"

        columns 2-7:   "easure"  =  regular bar line
                       "dotted"  =  dotted bar line
                       "double"  =  (light) double bar line
                       "heavy1"  =  heavy bar line
                       "heavy2"  =  light-heavy double bar
                       "heavy3"  =  heavy-light double bar
                       "heavy4"  =  heavy-heavy double bar

        column 8:      empty

        columns 9-12:  optional bar number for this bar
                        (left justified)

        columns 13-15: footnote and level information

          column 13: footnote flag (blank = none)
          column 14: level number (optional)
          column 15: blank

        column 16:     blank

        columns 17-80: flags:  * = non-controlling bar line
                               ~ = continue ~~~ across bar line
                               & = signals a non-terminated tie in previous bar
                               A = segno sign at bar
                               F = fermata sign over bar line
                               E = fermata sign under bar line
                      start-end# = start ending #
                       stop-end# = stop ending #
                       disc-end# = discontinue ending # line
                              :| = repeat backward
                              |: = repeat forward

           Bar lines are divided into two types: controlling and
           non-controlling.  Controlling bar lines are lines which
           run through an entire score.  In this respect, they
           mark the beginning of a new global measure.  Non-
           controlling bar lines need not have this property.
           Non-controlling bar lines may not serve for line
           breaks or page breaks.  The designation of a bar line
           as non-controlling is to some extent left to the
           discretion of the encoder, e.g., in the case of a
           double bar in the middle of a normal measure, this
           could be controlling or non controlling.  However, in
           a case such as the Minuet from the Mozart opera "Don
           Giovanni," where the score uses three different meters
           simultaneously, the non-aligned bar lines must be
           designated as non-controlling.

   4. Regular note/rest   control code = A,B,C,D,E,F,G or r

        columns 1-4:   pitch or rest, Cff0 to B##9, C4 = middle C

        column 5:      blank

        columns 6-8:   duration (right justified)

        column 9:      tie flag   " " = no tie
                                  "-" = tie

            From the data in columns 1 to 9, (i.e., pitch and
            duration), it is possible to reproduce aural output
            of the musical part)

            Note: Normally a note with a tie must be followed
                  immediately by another note of the same pitch
                  (in that pass).  It can happen that a tie goes
                  nowhere (e.g. in first endings or da capos).
                  In this case you must use an "X" type musical
                  direction to terminate the tie.  If the non-
                  terminated tie crosses a measure line, that
                  measure line should be flagged with a "&" flag.

        columns 10-12: blanks

        columns 13-15: footnote and level information, track #

          column 13: footnote flag (blank = none)
          column 14: level number (optional)
          column 15: track number (optional)

            Where more that one musical line is represented in
            a part (e.g., Oboe I,II or keyboard music), it is
            essential for purposes of analysis to know for each
            note (or chord) the musical line or "track" to which
            the note belongs.  In some cases this is "interpretive"
            information, provided as a service by the encoder.

        column 16:     blank

        columns 17-22: note description

          column 17: note type
                       L,b,w,h,q,e,s,t,x,y,z  (Longa to 256th note)
                             H,Q,E,S,T,X,Y,Z  (Half to 256th note)
                       B,A,9,8,7,6,5,4,3,2,1  (Longa to 256th cue-size)

                         When the control code = "r" (rest), column 17
                         may be blank.  This signals the music typesetter
                         that the rest is to be represented as a centered
                         whole rest, regardless of its duration.

                         For half notes and smaller, both upper and lower
                         case letters will work, but in general the upper
                         case alternative should NOT be used.  In the case
                         of notes, it makes absolutely no difference, but
                         with rests, using an upper case letter will cause
                         the music typesetter to replace the letter with a
                         blank when the part inclusion flag (General print
                         suggestion x) = 1.  The part will be omitted from
                         a system when there are only whole rests in that
                         part in that system (See 14. Print Suggestions:
                         section 11).


          column 18: dot flag    " " = no dot
                                 "." = single dot
                                 ":" = double dot
                                 ";" = triple dot
                                 "!" = quadruple dot
          column 19: actual accidental flag

                     # = sharp               X = sharp-sharp
                     n = natural             & = flat-flat
                     f = flat                S = natural-sharp
                     x = double sharp        F = natural-flat

          columns 20-22: designation of time modification
                       Two digits, separated by a colon (:)
                       For standard cases, such as triplets (3:2),
                       the colon and the second digit are usually
                       omitted.  The numbers 10--35 are
                       represented by the letters A--Z.

        column 23:     stem direction
                            d  = down
                            u  = up
                           " " = no stem

        column 24:     staff number (" " = 1)

            Used in the case of music represented on more than
            one staff.

        column 25:     blank

        columns 26-31: beams (up to six levels = 256th note)
                            [  = start beam
                            =  = continue beam
                            ]  = end beam
                            /  = forward hook
                            \  = backward hook

                         column 26 is for eighth beams,
                                27 for sixteenth,
                                   ...

        columns 32-43: other notations

             Codes are read from left to right.  The character "&",
             followed by a digit (1..9,A..Z), is used to indicate
             a specified data level.  All codes to the left of
             the first "&" belong to the base data level.

             The following codes are somewhat arbitrary.  They
             have been chosen for representing common musical
             notation for Western music from the 16th through
             the 19th centuries.  The encoding scheme is not
             complete but may be augmented and/or altered to
             meet the special requirements of the music being
             encoded.

   for more on ties and slurs, see type 14, "print suggestions"

          Ties, Slurs, Tuples            Articulations and Accents
          --------------------           --------------------------
           -  = tie                       A  = vertical accent (/\)
(04/22/08) J  = overhand back tie/slur    V  = vertical accent (\/)
(04/22/08) K  = underhand back tie/slur   >  = horizontal accent
           (  = open slur1                .  = staccato
           )  = close slur1               _  = legato
           [  = open slur2                =  = line with dot
           ]  = close slur2                      under it
           {  = open slur3                i  = spiccato
           }  = close slur3               ,  = breath mark
           z  = open slur4
           x  = close slur4
           *  = start tuplet             Accidentals on ornaments (must
           !  = stop tuplet               follow directly after ornament)
                                         --------------------------------
          Ornaments                       s  = sharp   (ss = double sharp)
          ----------                      h  = natural
           t  = tr.                       b  = flat    (bb = double flat)
           r  = turn                      u  = next accidental is below
           k  = delayed turn                   rather than above ornament.
           w  = shake                          In case accidentals appear
           ~  = wavy line (trill)              above and below ornament,
           c  = continue wavy line             the accidental above should
           M  = mordant                        be encoded first.
           j  = slide                     U  = next accidental follows
           T  = tremulo (New 01/07/06)         tr. on same line (used only
                                               with trills)

          Technical Indications          Other Indications and Codes
          ---------------------          ---------------------------
           v  = up bow                    S  = arpeggiate (chords)
           n  = down bow                  F  = upright fermata
           o  = harmonic                  E  = inverted fermata
           0  = open string               G  = G. P. (grand pause)
           Q  = thumb position (cello)    p  = piano (pp, ppp, etc.)
   1,2,3,4,5  = fingering                 f  = forte (ff, fff, etc., fp)
           :  = next fingering is a       m  = mezzo (mp, mf)
                 substitution e.g.,       Z  = sfz (also sf)
                   5:42:1 = 5-4           Zp = sfp
                            2-1           R  = rfz
                                          ^  = accidental above note
                                          +  = cautionary/written
                                                   out accidental


                  Notations sorted by ASCII number
                ====================================

           A  = vertical accent (/\)      a  = unassigned
           B  = unassigned                b  = flat    (bb = double flat)  (for ornaments)
           C  = unassigned                c  = continue wavy line
           D  = unassigned                d  = unassigned
           E  = inverted fermata          e  = unassigned
           F  = upright fermata           f  = forte (ff, fff, etc., fp)
           G  = G. P. (grand pause)       g  = unassigned
           H  = unassigned                h  = natural (for ornaments)
           I  = unassigned                i  = spiccato
           J  = overhand back tie/slur    j  = slide
           K  = underhand back tie/slur   k  = delayed turn
           L  = unassigned                l  = unassigned
           M  = mordant                   m  = mezzo (mp, mf)
           N  = unassigned                n  = down bow
           O  = unassigned                o  = harmonic
           P  = unassigned                p  = piano (pp, ppp, etc.)
           Q  = thumb position (cello)    q  = unassigned
           R  = rfz                       r  = turn
           S  = arpeggiate (chords)       s  = sharp   (ss = double sharp)  (for ornaments)
           T  = tremulo (New 01/07/06)    t  = tr.
           U  = next accidental follows   u  = next accidental is below     (for ornaments)
           V  = vertical accent (\/)      v  = up bow
           W  = unassigned                w  = shake
           X  = unassigned                x  = close slur4
           Y  = unassigned                y  = unassigned
           Z  = sfz (also sf)             z  = open slur4
           Zp = sfp

                          Non alphabetic
                        ------------------
       33       !  = stop tuplet              54       6
       34       "                             55       7
       35       #                             56       8
       36       $                             57       9
       37       %                             58       :  = next fingering
       38       &  = editorial switch         59       ;
       39       '                             60       <
       40       (  = open slur1               61       =  = line with dot under it
       41       )  = close slur1              62       >  = horizontal accent
       42       *  = start tuplet             63       ?
       43       +  = cautionary accidental    64       @  = dead space (do not assign)
       44       ,  = breath mark              91       [  = open slur2
       45       -  = tie                      92       \
       46       .  = staccato                 93       ]  = close slur2
       47       /                             94       ^  = accidental above note
       48       0  = open string              95       _  = legato
       49       1  = fingering                96       `
       50       2  = fingering                123      {  = open slur3
       51       3  = fingering                124      |
       52       4  = fingering                125      }  = close slur3
       53       5  = fingering                126      ~  = wavy line (trill)



        columns 44-80: text:  multiple lines of text set off by |
                              example:  Deck|See|Fast

           Special text codes:  "-" at the end of a word generates
                                      hyphons to the next text word
                                      on that line.

                                "-" alone continues hyphons.

                                "_" at the end of a word generates
                                      an extension line to the next word
                                      on that line.

                                "_" alone continues the extension line.

                                "&" can be used as "pseudo-text" for the
                                      purpose of ending an extension
                                      line in the situation where there
                                      is no further text (see "_" above).
                                      Otherwise, the extension line may
                                      continue indefinitely.  The "&" is
                                      silent; i.e., it generates no text
                                      output.

                                ",.!?;:" punctuation when followed by
                                      "_" will be placed at the end of
                                      the extension line.

                                "\0+" = word join character

                                "\+"  = used to indicate a "space"



   5. Extra note in a chord    control code = ' ' (blank)

        column 1:      blank
        columns 2-5:   pitch (see regular note)
        columns 6-8:   blanks
        column 9:      tie flag
        columns 10-42: same as for regular note

   6. Grace notes, cue-notes    control code = g or c

        column 1:      g = grace note
                       c = cue note (grace size, but written in time)
        columns 2-5:   pitch/rest (see regular note)
        columns 6-7:   blanks
        column 8:      note type
                          0 = eighth note with slash
                          1 = 256th note
                          2 = 128th note
                          3 = 64th note
                          4 = 32nd note
                          5 = 16th note
                          6 = 8th note
                          7 = quarter note
                          8 = half note
                          9 = whole note
                          A = breve

        column 9:      blank
        columns 10-80: same as regular notes

   6a. Arpeggios                control code = g

        The arpeggio must be represented as a special case of the
        grace note class.  Unlike other types of ornamentation, which
        occupy space above or below the notes to which they apply,
        the arpeggio is situated along side a chord (or possibly a
        group of chords in the case of the grand staff) and requires
        extra horizontal space, but not extra time-space.  In this
        key respect, it is like a grace note, and unlike any other
        type of musical object.

        column 1:      g = grace note class)

        columns 2-5:   pitch
                          Any pitch will work.  However the selection of
                          pitch will effect the amount of horizonal space
                          allocated for the arpeggio.  The spacing rule
                          follows that used for grace notes.  In particular,
                          a pitch which "bumps up" against the following
                          chord will be allocated more space.

        columns 6-7:   blanks

        column 8:      note type
                          X = arpeggio

        columns 9-12:  blanks

        columns 13-15: footnote and level information, track #

          column 13: footnote flag (blank = none)
          column 14: level number (optional)
          column 15: track number (optional)

        column 16:     blank

        columns 17-21: vertical parameters for the arpeggio

          column 17-18:  space on staff where arpeggio begins
                           0 = space above staff line (G5 in treble clef)
                           1 = space between first and second lines (E5)
                                 etc.
                          -1 = treble B5

          column 19: double staff flag (grand staff only)



          column 20-21:  space on staff where arpeggio ends
                           4 = space above bottom line (F4 in treble clef)
                           5 = space below bottom line (D4 in treble clef)
                                 etc.

        columns 22-23: blanks

        column 24:     staff number (" " = 1)

            Used in the case of music represented on more than
            one staff.

        columns 25--:  not used

   7. Extra Grace/Cue note in a chord

        column 1:      g or c (same as 7 above)
        column 2:      blank
        columns 3-6:   pitch (see regular note)
        column 7:      blank
        column 8:      note type (same as 7 above)
        column 9:      blank
        columns 10-80: same as other grace and cue notes

   8. Figured harmony    control code = f

        column 1:      f = figured harmony
        column 2:      number of figure fields
        columns 3-5:   blanks
        columns 6-8:   advance of figure division pointer

           Figures take their position from the first regular
           note that follows the figure records.  In the case
           where the figures change during the duration of a
           note, the advancing parameter (columns 6-8) is used
           to indicate the elapsed time between changes.  In
           the case where a figure appears after a note has
           sounded, the "blank" figure is used as a place
           holder to advance the figure division pointer.

        columns 9-12:  blanks

        columns 13-15: footnote and level information

          column 13: footnote flag (blank = none)
          column 14: level number (optional)
          column 15: blank

        column 16:     blank

        columns 17--:  figure fields

            The figure fields are set off by one or more blanks.
          Figure numbers may extend from 1 to 19.  They may be
          modified in front by #,n,f, and x.  They may be modified
          afterward by #,n,f,+,\,/ and x.  The #,n,f and x signs
          may stand alone as figures.  A "b" indicates a blank
          figure.  This is used as a place holder in a list and
          also to start a continuation line with no figure.  The
          first figure field is for the top of the figure list.
                                           6
          For example, in the figure list #4 , the 6 would be
                                           2
          represented in the first field.

                   figures, signs and modifiers:
                        1        # = sharp
                        2        n = natural
                        3        f = flat
                        4        x = double sharp
                        5        + = augment (used with fig.
                                       nos. 2,4,5, and 6)
                        6        \ = diminish (used with fig.
                                       nos. 6 and 7)
                        7        - = short line in
                        8        _ = long line from previous figure
                        9        b = blank
                       10
                       ...

          It is possible to represent editorial figures by placing them
          inside parentheses ().  No empty space is permitted inside
          parentheses.


   9. Forward and Back space in time    control code = i,b

        columns 1-5:   "irst " =  forward space (invisible rest)
                                     (or "irest")
                       "back " =  backspace

        columns 6-8:   duration to skip forward or back up

        columns 9--12: blanks

        columns 13-15: footnote and level information

          column 13: footnote flag (blank = none)
          column 14: level number (optional)
          column 15: blank

        column 16:     blank

        column 17:     pass number (optional)

           This feature can be used to express parallel action
           in the same part (e.g., keyboard music).

  10. Continuation line    control code = a

        column 1:      a = append to previous line

        columns 2-16:  blanks

        columns 17-80: continuation of previous line

  11. Comments             control codes = & and @

        column 1:      @ = this line is a comment
                       & = enter comment mode.  All subsequent
                           records are comments until another
                           record with a & in column 1 appears.
                           "&" in column one acts like a toggle
                           switch between "data" mode and "comment"
                           mode.

  11a. Comments used as metacodes

        The @ comment line can also be used to send metacodes.
        At the moment, we have only one example of this.

        1. Conversion of Musedata to SCORE page data.

          a) Musical tracks

             The @ comment line can be used to assign musical tracks
             to staff numbers.  In the SCORE conversion process, this
             information is required when there are more than one
             musical track in a file.

             The convention in files representing two or more
             instruments on a single staff is to assign a track
             number to the ORed instrument numbers, with
             instrument 1 being assigned track 1, instrument 2
             being assinged track 2, and instrument 3 being assigned
             track 4.  Thus following track assignments:

                Instrument 1 alone    .  .  .  track 1
                Instrument 2 alone    .  .  .  track 2
                Instruments 1 and 2   .  .  .  track 3
                Instrument 3 alone    .  .  .  track 4
                Instruments 1 and 3   .  .  .  track 5
                   etc.

             The format for assigning tracks to staves is this:

             @  SCORECON track assignment:  (#,#)  (#,#)  (#,#)  ...

             where each track in the file is represented by an ordered
             pair (#,#).  The first # is the track number, and the
             second number is the staff number.  Even in the case
             where there is only one staff, the SCORE conversion process
             requires this information whenever there is more than one
             track.

             The  @  SCORECON track assignment:  line may appear several
             times in a file, but it must always be at the beginning of
             a measure before any musical data.  NOTE: It is possible
             in SCORE for a track to appear on more than one stave of the
             grand staff within a measure, but each track must have a
             "native" or "home" staff within each measure.

          b) Instrument number

             The @ comment line may be used to assign the instrument
             number to a file.  In the simplest case (default), the
             instrument number is the same as the part number in the
             scrcon group, and comment record is required, But in
             certain cases, the instrument numbers will diverge from
             the default.  If two separate instruments are represented
             in the same file, e.g., violoncello and basso, then the
             instrument number must be a concatination of two numbers
             in the form <1st number> * 100 + <2nd number>

             The format for assigning instrument numbers is this:

             @  SCORECON instrument number:<number>

          c) Instrument transposition

             The @ comment line may be used to communicate to the score
             conversion a transposing interval.  For transposing
             instruments, the transposing interval is the difference
             between what the instrument reads and what the instrument
             sounds.  This difference is represented by a base40 number.
             For example, Clarinet in B-flat sounds a whole tone lower
             read.  The whole tone in base40 is represented by the
             number 6.  So one whole tone down would be -6.  Because
             of the necessity of representing both negative and positive
             numbers, the interval size is expressed by the formula:

             size number = (50 + base40-interval)

             The format for assigning transpositions is this:

             @  SCORECON transposition:<size number>

             For Clarinets in B-file, the @  SCORECON record would be:

             @  SCORECON transposition:44

          d) Pitch transposition

             The @ comment line may be used to communicate to the score
             conversion a pitch transposing interval.  This transposition
             is applied on top of, that is, in addition to any instrument
             transposition.  The interval is represented by a base40 number.
             The reason we need a pitch transposing interval in addition
             to the instrument transposing interval is that the instrument
             transposing interval is fixed at the beginning of a movement
             and applies to all notes in a movement, e.g., Horns in E-flat.
             But occasionally the instrument transposition interval changes
             mid-movement.  For example, Beethoven in his Third Symphony, 1st
             movement, writes for horns in E-flat.  But at measure 412, he
             momentarily switches to horns in F.  In this case, we have
             horns in E-flat and horns in F notated on the same staff line,
             so even if we could change the instrument transposition to
             "horns in F," and represent this value on the staff line, the
             computed note pitches would not all be correct.

             The format for assigning pitch transpositions is this:

             @  SCORECON pitch transposition:<size number>

             where <size number>, a simple base40 value, is the amount
             by which we need to alter the notated pitch so that the
             correct sound is produced.  In our Beethoven example above,
             the notes played by the horns in F would be notated a whole
             tone higher if they were interpreted as notes to be played
             by horns in E-flat.  So we need to add a whole step (6 in
             base40) to every pitch, while these are notated for horns
             in F.  When the score switches back to horns in E-flat, the
             pitch transposition must be reset to its default, which is
             zero.

             The  @  SCORECON pitch transposition:  line may appear several
             times in a file, but it must always be at the beginning of
             a measure before any musical data.


  12. End of music data or end of file   control code = /

        column 1:      /

        columns 2-5:   "FINE" = end of music data
                       "END"  = end of file

           In the case where there is no footnote section, the
           "/FINE" record may be omitted.

  13. Sound directions

        column 1:      S

        A Sound Direction record can follow any record that produces
        a sound or influences time in some way.  This includes types
        4 to 8: regular notes and rests, extra note in a regular
        chord, grace notes and cue notes, extra grace/cue note in a
        chord, and figured harmony.

        Sound information can be given on a variety of attributes
        connected with a note.  This is a complicated subject, for
        which I am not yet ready to attempt a full description.  I
        am inclined to suggest the following mechanism, as a first
        pass at the problem:

        Since sound directions may apply to a wide variety of
        musical attributes, e.g., (1) the attack and dynamic
        envelope of a note, (2) the time of attack and length of a
        note (or rest), and (3) directions for performing ornaments,
        it makes sense to use a multiple field system, similar to
        the one used for musical attributes ($).  In this case, each
        field is introduced by a capital "C", followed immediately
        by a number and a colon, e.g., "C8:" or "C23:".  The meaning
        is that the data following this designation (all columns up
        to the next field designation or to the end of the record),
        will apply to the item in the specified column number of the
        previous record.  For example, if the previous record were a
        note, and there were a trill indicated by a "t" in column 33
        of that record, then C33: would indicate a sound direction
        field containing data on how that trill should be realized
        in a sound file.  Of course, each ornament, or pitch, or
        duration, will have a different set of needs regarding its
        sound specification, and these will have to receive further
        definition as the specification for this type of record
        develops.  At the moment, our specific need relates to
        specifying information for the following situations:

        1. Onset and length of grace notes

           Field designator:  C1:
           Data elements:     p     = steal time from previous note
                              f     = steal time from following note
                                        (default)
                              m     = don't steal time; make time
                                        (free cadenzas, etc.)

                              t<#>  Case 1: stealing time

                                    = percentage (0 to 100) of time
                                      to steal for this note.  The
                                      time is specified as a
                                      percentage of the duration of
                                      the controlling note, even
                                      though the time may not be
                                      stolen from this note.  The
                                      controlling note is the first
                                      regular note following the
                                      grace note.  In the case where
                                      the grace note comes just
                                      before a bar line, the first
                                      note in the next measure is
                                      used as the controlling note.

                              t<#>  Case 2: making time

                                    = number of real-time divisions
                                      for this note.  There is no
                                      limit to the number used.  All
                                      regular notes sounding at this
                                      point will play out their sound
                                      and then wait while these grace
                                      notes "do their thing."

           Notes on adding time:  If time is added by specifying "m" type
           grace notes, there are two limitations that must be observed.

             1. The total amount of time added must be representable by
                divisions in all parts.  For example, if a particular
                part has 4 divisions per quarter note and a total of 25
                divisions are added to a measure using C1:m records,
                then this is the equivalent of adding 25 sixteenth notes.
                In this case, all other parts must be able to represent
                the time interval of a sixteenth in this measure.  If
                there is a part which has 2 divisions per quarter, then
                a $  Q:4  record must be inserted at the beginning of
                this measure, and all durations in the measure must be
                doubled.  A $  Q:2   record must be inserted at the
                beginning of the next measure to restore the original
                parameter.

             2. A part which has extra time added must be assigned to
                its own midi channel.  For example, if there are 2 oboes
                and the first oboe has a cadenza (as in the first movement
                of Beethoven's 5th Symphony), then the oboes may not be
                assigned to the same midi channel.


        2. Onset and length of trills, turns, shakes, and wavy lines

           Field designator:  C32: to C43: (depending on where the
                                            ornament is indicated)
           Data elements:     u     = start on upper note (default)
                              m     = start on main note
                              w     = whole-step trill (default)
                              h     = half-step trill
                              j     = unison trill
                              e     = include a two note turn at
                                        the end of the trill
                                        (whole step)
                              f     = include a two note turn at
                                        the end of the trill
                                        (half step)
                              a     = accelerate trill slightly
                              n<#>  = number of beats (min is 2,
                                        default is 4)
                              s<#>  = percentage point for landing
                                        on second beat of trill
                                        (default is 25)
                              t<#>  = percentage point for landing
                                        on last beat of trill
                                        (default is 75)

                              The default trill (uwn4s25t75) is a
                              four note trill starting on the upper
                              whole step and having four equal
                              beats.


        3. Onset and length of (inverted) mordents

           Field designator:  C32: to C43: (depending on where the
                                            ornament is indicated)
           Data elements:     m     = start on main note (default)
                              b     = start on note below main note
                              w     = whole-step mordent (default)
                              h     = half-step mordent
                              a     = accelerate mordent slightly
                              n<#>  = number of beats (minimum is 2,
                                        default is 3)
                              s<#>  = percentage point for landing
                                        on second beat of trill
                                        (default is 12)
                              t<#>  = percentage point for landing
                                        on last beat of trill
                                        (default is 24)

                              The default mordent (mwn3s12t24) is a
                              three-note snap starting on the main
                              note and going down a whole step.

        4. Alternate instrument (pizz. for strings)

           Field designator:  C2: (to distinguish it from grace note
                                      information)

           Data elements:     a     = pizzicato for this note (this
                                        designation must be contained
                                        in a sound record which follows
                                        directly after the note in
                                        question.)
                              A     = pizzicato for this note and
                                        every regular note that
                                        follows in the file, until
                                        cancelled.
                              b     = arco (used to cancel A)

        5. Da Capo direction and Segno sign and implied |:

           Field designator:  C0: (because this does not relate to a
                                      column number)

           Data elements:     d     = da capo to beginning of
                                        movement or to Segno sign.
                                        Normally this record would
                                        directly precede the "/END"
                                        or "/FINE" record.
                              S<#>  = segno sign: da capo to
                                        this point in the file.
                                        # = divisions per quarter
                                        (for information of sound
                                        and MIDI generating
                                        programs)
                              |>    = implied forward repeat dots
                                        (usually follows a bar line)

        6. Fine signs (written or implied)

           Field designator:  C8:

           Data elements:     F<#>  = Fine sign (written or implied)
                                      This record should follow any
                                      final note or rest in a
                                      movement which has a "da capo"
                                      direction.  # = actual duration
                                      of the final note or rest.
                                      This is needed because some
                                      "fines" are indicated only by a
                                      fermata, and these can be over
                                      notes of different durations in
                                      different parts!

                              In the case where there is more than
                              one active track in the measure with
                              the "Fine" (i.e., there is a backspace
                              command in the measure), all final
                              notes must have their durations
                              specified by a "Fine" sound record.
                              In the case of chords, the "Fine"
                              sound record should follow the last
                              chord tone record.

        7. Tempo changes

           Field designator:  C0: (because this does not relate to a
                                      column number)

           Data elements:     W<#>  = new tempo in quarter notes
                                        per minute.  If parameter
                                        <#> = 0, this means that
                                        the sound generating programs
                                        must ask the user for a value
                                        At the time of compiling a
                                        sound (MIDI) file.

                                  Note: This must be the only data
                                        element in this sound record.


        8. Changes in dynamics

           Field designator:  C0: (because this does not relate to a
                                      column number)

           Data elements:     V<#>  = dynamic level (velocity) measured
                                        as a percent of the default
                                        (which is forte).  Normally
                                        the programs constructing MIDI
                                        performance files assign a flat
                                        value of 90 to the velocity
                                        byte.  Occasionally we may want
                                        to change this value either to
                                        bring out a part or to suppress
                                        a part.  MIDI plus compilations
                                        (for data transmission) are
                                        not affected by this feature.

                                  Note: This must be the only data
                                        element in this sound record.


  14. Print suggestions

        column 1:      P

           Print suggestions come in two types:  General and Specific.

           General print suggestions can occur anywhere in body of the
           stage2 data and are used to set general print parameters
           such as minimum note spacing, default fonts, etc.

           Specific print suggestions can follow any record that
           contributes to the printed output of the music.  This includes
           types 2 through 8: musical directions, bar lines, regular
           notes and rests, extra notes in a regular chord, grace notes
           and cue notes, extra grace/cue notes in a chord, and figured
           harmony.

        columns 2... until a blank is encountered:

           A code string (string of codes containing no blanks)
           indicating the classes of situations to which this suggestion
           applies.  A space " " in column 2 means that the suggestion
           is universal; it applies to all printing.

           The code string may contain letters and/or numbers.  All
           numbers must be preceded by the "#" sign.

           Numbers refer to the notesize to which the print suggestion
           applies.  The codes "<" and ">" may be used to indicate all
           notesizes "less than" or "greater than" a certain number.
           For example, a print suggestion beginning thus, P#>12, would
           apply to all notesizes greater than twelve.

           Letter codes indicate the application to which a print
           suggestion applies.

           Codes currently recognized by the software are listed below.

               "p" = parts
               "s" = score
               "k" = skore (conductor's score)
               "t" = short score (piano vocal)
               "a" = all applications

           Note:  If there is a code string present, the designation of
           notesizes is optional, but the designation of relevent
           application letter codes is manditory.  The reason for this is
           that notesize designation is a process of elimination (i.e.,
           don't use this suggestion if the notesize doesn't fit) whereas
           application designation is a process of inclusion (i.e., use
           this suggestion only if the relevant letter is present in the
           code).  The code letter "a" can be used to designate all
           applications (for a particular set of notesizes).

         ┌───────────────────────────────────────────────────────────────┐
         │ Special case 1:  If column 2 contains a "v", the next four    │
         │ columns will contain the version number of autoset for which  │
         │ the print suggestions are valid and have been checked.  If    │
         │ the version of autoset running is different from the version  │
         │ number in the stage2 file, (and the version of autoset is     │
         │ 4.00 or higher), a warning message will be displayed.  When   │
         │ this happens, it is a good idea to check the output of each   │
         │ print suggestion to make sure that the outcome is the desired │
         │ one.  It is expected that changes and improvements will be    │
         │ made to autoset from time to time.                            │
         └───────────────────────────────────────────────────────────────┘
         ┌───────────────────────────────────────────────────────────────┐
         │ Special case 2:  If column 2 contains an "x", the next three  │
         │ columns may contain certain flags that modify the operational │
         │ behavior of the autoset program.                              │
         │                                                               │
         │   If the letter "m" is present, then autoset will report the  │
         │   measures it has completed.  This is useful when trying to   │
         │   find data errors.                                           │
         │                                                               │
         │   If the letter "d" is present, then autoset will allow the   │
         │   user to enter debug mode at a location specified at run     │
         │   time.  This is useful in tracing program operation at a     │
         │   more detailed level.                                        │
         │                                                               │
         │   If the letter "s" is present, then autoset will provide     │
         │   additional information to the output i-files, which will    │
         │   allow a compressed search file to be built later in the     │
         │   process.                                                    │
         └───────────────────────────────────────────────────────────────┘


        Print suggestions, like sound directions, use a multiple
        field system.  Each field is introduced by a capital "C",
        followed immediately by a number and a colon, e.g., "C8:" or
        or "C23:".  The meaning is that the data following this
        designation (all columns up to the next field designation or
        to the end of the record), will apply to the item in the
        specified column number of the previous (non-Sound) record.
        For example, if the previous record were a note, and there were
        a slur starting on that note indicated by a "(" in column 33
        of that record, then C33: would start a field containing one
        or more suggestions on how that slur should be printed.  At
        the moment, we can give print suggestions in the following
        situations:

        The type of printing for which a suggestion applies (columns 2...)
        may also be specified in a "C" field.  In this case, the selective
        number and letter codes(s) described above should follow the column
        number and precede the colon.  For example, "C33sp:" would
        indicate a print suggestion applied to the datum in column 33
        from the previous record and applied only to the printing of a
        score or a part (and not to a short score).  This feature
        allows greater selectivity for print suggestions than the use of
        selective codes starting in column 2.

        A print suggestion which has a code C0: is a general suggestion
        and not related to any specific column in a previous record.


        1. Position of slurs

           Field designator:  C32: to C43: (depending on location of
                                        slur)
           Data elements:     o     = place slur over the note in
                                        question
                              u     = place slur under the note in
                                        question

             These suggestions are needed only when the standard
             algorithms fail to place the slur properly, as sometimes
             happens with multiple parts on a stave or with double
             stops in the strings.


        2. Orientation of ties

           Field designator:  C32: to C43: (depending on location
                                        of tie)
           Data elements:     o     = over-hand tie (tips down)
                              u     = under-hand tie (tips up)

             These suggestions are needed only when the standard
             algorithms fail to place the tie properly, as sometimes
             happens with multiple parts on a stave or with double
             stops in the strings.


        3. Tuplet and tuplet bracket (default is no bracket)

           Case I:  For use with start tuplet "*" code

             Field designator:  C32: to C43: (depending on location
                                          of tuplet starter)

             Data elements:     [     = use continuous square bracket
                                (     = use continuous slur bracket
                                :     = use square bracket and break
                                          in the middle
                                ;     = use slur bracket and break
                                          in the middle
                                i     = place tuplet number inside bracket
                                          (below, if tips are down; above if
                                          tips are up).  Default is outside.

                                i has meaning only when combined with [ or (

           Case II:  For use with stop tuplet "!" code.  Note: The reason the
                       shift parameters must be used with the stop code is
                       that the tuplet super-object is generated when the
                       the stop code is encountered.

             Field designator:  C32: to C43: (depending on location
                                          of tuplet stopper)

             Data elements:   x<#>  = shift x position of tuplet (units
                                      are in tenths of interline distance)
                                        # > 0: right -->
                                        # < 0: left  <--

                              y<#>  = shift y position of tuplet (units
                                      are in tenths of interline distance)
                                        # > 0:  down
                                        # < 0:  up


        4. Suggestions modifying the printing of note, rest and
             figure objects

           Field designator:  C1:

           Data elements:     x<#>  = shift default x position (units are
                                      in tenths of interline distance)
                                        # > 0:  right  -->
                                        # < 0:  left   <--

                              X<#>  = x position relative to primary
                                      horizontal position of notes (where
                                      most notes line up) (units are in
                                      tenths of interline distance)


                              y<#>  = shift default y position (units are
                                      in tenths of interline distance)
                                        # > 0:  down
                                        # < 0:  up

                              Y<#>  = y position relative to staff line.
                                      (units are in tenths of interline
                                      distance)

                              s<#>  = note head shape
                                        # = 0:  regular (default)
                                        # = 1:  x note (e.g. cymbal crash)
                                        # = 2:  normal stem diamond
                                          (up to 15 non-regular types)

                              p<#>  = printout modifier
                                        # = 0:  (default)

                                    no-print suggestions
                                        # = 1:  leave space, don't print
                                                  note or dot
                                        # = 2:  leave space, print only
                                                  a dot

                                    suggestions extending note length
                                        # = 3:  print note, no dot
                                        # = 4:  print note, add extension
                                                  dot
                                        # = 5:  double note length, no dot
                                        # = 6:  double note length, print
                                                  dot
                                        # = 7:  quadruple note length, no
                                                  dot

           Note: (1) In certain special cases, an invisible rest (irest)
                 will require the allocation of physical space in order
                 for mskpage to run properly.  This condition is encountered
                 in multi-track situations where using an irest creates
                 an isolated time node in a measure.  Use the print
                 suggestion  "P   C1:p1" after the offending irest to
                 allowcate the necessary physical space.  For a "global"
                 method of dealing with this problem, see Section 11:
                 General print suggestions, suggestion r<#>.

                 (2) There is a special case where the allocation of
                 space for an invisible rest will improving the layout
                 of the music.  When there are two instruments on a
                 staff (e.g. oboes 1 and 2), and these parts are
                 isorhythmic, with stems in the same direction so
                 they should be printed as chords, if there is an
                 irest within a set of beamed notes, then the
                 invisible rest (in the second part) should be
                 allowcated space.   Otherwise the parts will not
                 be combined into chords.

                 (3) A third special case has turned up where the
                 allocation of space for an invisible rest will
                 improving the layout of the music.  When there are
                 two instruments on a staff (e.g. oboes 1 and 2), and
                 these parts are isorhythmic, with stems in the same
                 direction so they should be printed as chords, if
                 there are wedges within a set of beam notes, and
                 there is an irest somewhere in the measure, then
                 this invisible rest (in the second part) should be
                 allowcated space.  Otherwise the parts will not be
                 combined into chords.  Note: If the parts are not
                 fully isorhythmic, then wedges boundaries within a
                 set of beamed notes will always prevent these notes
                 being combined into chords.


        5. Suggestions for location of notations attached to notes

           Field designator:  C18: for extension dots
                              C19: for accidentals
                              C32: to C43: (depending on column location
                                        of the notation)

           Data elements:     x<#>  = shift default x position (units are
                                      in tenths of interline distance)
                                        # > 0:  right  -->
                                        # < 0:  left   <--

                              X<#>  = x position relative to note object
                                      (units are in tenths of interline
                                      distance)

                              y<#>  = shift default y position (units are
                                      in tenths of interline distance)
                                        # > 0:  down
                                        # < 0:  up

                              Y<#>  = y position relative to note object.
                                      (units are in tenths of interline
                                      distance)
                                      Note: Don't use this with staccato
                                            and spiccate

                              L<#>  = (ties only) change end point of a
                                      tie (+ or -).  (units are in tenths
                                      of interline distance)

                              a     = place notation above note object
                                      (over-ride default)

                              b     = place notation below note object
                                      (over-ride default)

                           Notations for which this works
                           ------------------------------
                     ornaments: turns, trills, shakes, mordents,
                                wavy lines (trill)

                 articulations: spiccato, staccato, line over dot, legato,
                                horizontal accent, vertical accents

                     technical: up bow, down bow, string harmonic,
                                thumb position, open string, fingerings

                      dynamics: combinations of letter dynamics

                         other: fermatas, ties

                                In the case of ties, the x-shift applies
                                only to the left end of the tie.  This
                                can be used to avoid a clash between
                                extention dots and the tie.

           Notations for which this feature doesn't work (at the moment)
           -------------------------------------------------------------
             arpeggiated chords, tuplets, ped *
             (slurs are dealt with below)


        6. Suggestions for shape and location of slurs

           Field designator:  C32: to C43: (depending on column location
                                        of the notation)

             Case I: Start slur "(", "[", "{", "z"

               To suppress printing of slur:

               Data element:     *  = suppress printing of slur.  This is
                                      used when the slur occurs in conjunction
                                      with a tuple   (New 04/26/05)

               For location of slur:

               Data elements: x<#>  = (extra) horizontal displacement
                                      from associated starting note (units
                                      are in tenths of interline distance)
                                        # > 0:  right  -->
                                        # < 0:  left   <--
                                      Length and shape of slur are
                                      affected.

                              X<#>  = post adjustment to x-position of slur
                                      negative = left; positive = right
                                      (units are in tenths of interline
                                      distance).  Length and shape of slur
                                      are not affected.

                              y<#>  = (extra) vertical displacement from
                                      associated starting note (unis are
                                      in tenths of interline distance)
                                        # > 0:  down
                                        # < 0:  up
                                      Length and shape of slur are
                                      affected.

                              Y<#>  = post adjustment to y-position of slur
                                      negative = up; positive = down
                                      (units are in tenths of interline
                                      distance). Length and shape of slur
                                      are not affected.

               Note: The suggestion may contain any combination of the four
                     data elements


             Case II: End slur ")", "]", "}", "x"

               Data elements: x<#>  = (extra) horizontal displacement from
                                      associated ending note (units are in
                                      tenths of interline distance)
                                        # > 0:  right  -->
                                        # < 0:  left   <--
                                      Length and shape of slur are affected.


                              y<#>  = (extra) vertical displacement from
                                      associated ending note (units are in
                                      tenths of interline distance)
                                        # > 0:  down
                                        # < 0:  up
                                      Length and shape of slur are affected.

                              h<#>  = post adjustment to curvature.  This
                                      works within limits.  positive = more
                                      curvature; negative = less curvative.
                                      Shape is affected, but length should
                                      not be (if it is, then the value of #
                                      is out-of-bounds).


        7. Suggestions for representing beamed notes with repeaters

           Field designator:  C26: or C27:

           Data elements:     a     = use repeater for next beam only.
                              A     = use repeaters for all beams
                                        which follow.
                              b     = return to normal beaming
                                        (used to cancel A)
                              c     = use repeater for next beam only, and
                                        add dot to note value.  This varient
                                        of "a" is useful for cases where the
                                        repeater is on a triplet (or some
                                        multiple of a triplet), and the
                                        encoder wishes to avoid having to
                                        display the tuple number.  The
                                        actual duration of the note for
                                        spacing purposes is not altered

                          Note: Print suggestions for beams normally
                                follow the beginning of beams.  If the
                                field designator is C26:, this indicates
                                that the maximum use of repeaters is
                                desired; if the field designator is
                                C27:, then the "top" beam should not
                                be represented as a repeater.


        8. Suggestion for changing the length of the first stem on
             beamed notes

           Field designator:  C26:

           Data element:      y<#>  = change length of first stem for a
                                      set of beamed notes, as calculated
                                      by mskpage or mkpart.  (units are
                                      in tenths of interline distance)
                                        # > 0:  make stem longer
                                        # < 0:  make stem shorter
                                      Suggestions apply to up and down
                                      stems.

        9. Suggestions for musical directions

           Field designator:  C17: or C18: (depending on location of
                                            the musical direction)

           Data elements:     x<#>  = shift default x position (units are
                                      in tenths of interline distance)
                                        # > 0:  right  -->
                                        # < 0:  left   <--

                              X<#>  = x position relative to staff line.
                                      (units are in tenths of interline
                                      distance)

                              y<#>  = shift default y position (units are
                                      in tenths of interline distance)
                                        # > 0:  down
                                        # < 0:  up

                              Y<#>  = y position relative to staff line.
                                      (units are in tenths of interline
                                      distance)


           Field designator:  C25: and greater (depending on location of
                                      the font change).  Multiple font
                                      changes are allowed in the same
                                      line.

                              f<#>  = font number for ASCII text in the
                                      specified column and subsequent
                                      columns to the right (until a
                                      new change is encountered).  Used
                                      with direction types A,B,C,D,G.

                                      The use of this suggestion will
                                      remove the need to place the
                                      font number in the ASCII string
                                      of the musical direction.

           Note:  If the code C25:f0 is used, i.e., "set the initial font
                    to zero,"  this will cause the directive to BLANK,
                    that is, not to print.   This feature can be used,
                    for example, to blank directives which  are present
                    (and needed) in all parts but which in the full
                    score  are needed only at the bottom.  The print
                    suggestion in this case  would be:

                    Ps   C25:f0   --> Apply this suggestion only when
                                      typesetting the i-files for a score,
                                      and don't include the directive
                                      above this suggestion.


       10. Suggestions for treatment of whole measures

           Field designator:  C1:

           Suggestion codes:   n     = do not expand the spacings in the
                                       following measure in the left-edge
                                       alignment process.

                               ]     = use system justification to force
                                       this bar line to the end of a system.

                               f     = breakup a multi-measure rest.  This
                                       applies only to the typesetting of parts.
                                       If this barline is also to be a system
                                       break, then the suggestion "P  C1:f"
                                       should come first, followed by the
                                       suggestion "P  C1:]"


       11. General print suggestions

           Field designator:  C0:

           Suggestion codes:   a<#>  = placement of articulations
                                         bit 0 set: attach staccato to note head
                                         bit 1 set: attach legato to note head
                                         bit 2 set: attach spiccato to note head
                                         bit 3 set: attach all other articulations to note head
                                         bit 4 set: place staccato and/or legato above note
                                         bit 5 set:   and above the staff lines.
                                         bit 6 set: place spiccato above note
                                         bit 7 set: place all other articulations above note

                               c<#>  = continuo line
                                         # = 0: normal operation
                                         # = 1: blank out rests

                               d<#>  = default height for time words and
                                       other musical designations.
                                       # is measured in scale steps above
                                       the top line of the staff.  Default
                                       is 6 scale steps.

                               f<#>  = default font for musical directions in
                                         "*" records

                               F<#>  = font for musical directives in "$" records

                               g<#>  = slur adjustment flag
                                         # = 0: default; automatic adjustment of slur
                                         # = 1: turn off automatic adjustment

                               h<#>  = alter the minimum allowed space between notes
                                         # = percentage of default size (hpar(29))
                                             (100 = default)

                               j<#>  = option to change stem directions (when using I:2)
                                         # = 0: don't change (default)
                                         # = 1: set all stems up
                                         # = 2: set all stems down
                                         # = 3: change stems where appropriate

                               k<#>  = various operational flags (defaults are 0)

                                         bit 0: (for two or more tracks)
                                            0 = allow overstrike when there is a dot-difference
                                            1 = do not overstrike
                                         bit 1: (for printing new key signatures)
                                            0 = don't print a new key signature if it is
                                                  the same as the previous one (default)
                                            1 = always print a key signature
                                                  even when it hasn't changed
                                         bit 2: (for printing chords with mixed colors)
                                            0 = don't allow mixed colors in chords
                                                  principle duration color
                                            1 = allow mixed colors in chords
                                         bit 3: (for suppression of the key signature)
                                            0 = normal
                                            1 = suppress printing of the key signature
                                                  (for timpani parts, etc.)
                                         bit 4: (for assigning editorial slurs)
                                            0 = normal (no assignment)
                                            1 = "{ }" and "z x" combinations
                                                  indicate editorial slurs
                                         bit 5: (for printing new clef signs)
                                            0 = normal (large clefs, only at start of measure)
                                            1 = always use large clefs


                               m<#>  = multi-rest flag
                                         # = 0: do not generate multi-rests (default for score)
                                         # = 1: generate multi-rests (default for parts)

                               n<#>  = numbering measures
                                         # = 0: stop numbering measures
                                         # > 0: start numbering measures
                                                  with <#>

                               p<#>  = minimum distance between notes
                                       (expressed as percent of the
                                       default).

                               q<#>  = duration which is assigned the
                                       minimum distance
                                         0 = recompute default (from this
                                               point onward)
                                         1 = whole notes
                                        ...   . . .
                                         8 = eighth notes
                                        16 = sixteenth notes, etc

                               r<#>  = rest options flag

                                         bit 0: placement of rests
                                            0 = use default placement
                                            1 = always place on middle line

                                         bit 1: treatment of irests.
                                            0 = use irest as a simple "backup" command
                                            1 = treat irest as an "un-printed" rest object

                                         Note: setting this bit serves to globalize the
                                         "C1:p1" print suggustion, used in multi track
                                         situations where an irest is the only member
                                         of a time node.  See note under under section 4:
                                         Suggestions modifying the printing of note, rest
                                         and figure objects.

                                         bit 2: treatment of irests.
                                            0 = collapse isorhymic rests in the
                                                  two instrument case (default)
                                            1 = do not collapse isorhythmic rests

                               s<#>  = space between grand staffs measured
                                       in multiples of leger lines times 10
                                       (e.g. 100 = 10 leger lines).

                               t<#>  = global tuplet placement
                                         # = 0: use default
                                         # = 1: place tuplet near note
                                                  heads
                                         # = 2: place tuplet near note
                                                  stems (beams)
                                         # = 3: place all tuplets above
                                                  notes
                                         # = 4: place all tuplets below
                                                  notes

                               v<#>  = location of text below music
                                         # = number of scale steps (x 10)
                                              (default approx. 150)

                               x<#>  = part inclusion flag
                                         # = 0: include part in every
                                                  system (default)
                                         # = 1: leave part out of system
                                                  when there are only
                                                  whole rests in the part

                               y<#>  = line control flag (type = Y U)
                                         # = 0: turn all line control
                                                  tags off (default)
                                         # = 1: generate a line control
                                                  (type=Y U) type-1 tag
                                                  (suppresses dominant
                                                  representation)
                                         # = 2: generate a line control
                                                  (type=Y U) type-2 tag
                                                  (suppresses non-dominant
                                                  representation)

                                  Note: type-y general print suggestions
                                        are written to the output file by
                                        AUTOSET as soon as they are
                                        encountered.  This means that any
                                        such suggestion encountered during
                                        the processing of a measure of
                                        data will be put out at the
                                        beginning of the measure (i.e.,
                                        immediately following the previous
                                        bar line.

                                  Note also: A measure with nothing but a
                                        whole rest (empty measure) is processsed
                                        somewhat differently by AUTOSET, which
                                        can cause any type-y general print
                                        suggestions in such a measure to be
                                        ignored (technically this is a fault
                                        of AUTOSET).

                               z<#><string> = abbreviated part name flag
                                         (type= Y P)
                                         # = font number.  (0 = flag OFF)
                                         <string> (when # > 0) = the
                                         abbreviated part name.  Use the
                                         "_" character to indicate a blank.
                                         Use the "/" character to indicate
                                         a second instrument.
                                         Start with "(g)" if the instrument
                                         is displayed on the grand staff

                                  Note: type-z general print suggestions
                                        are written to the output file by
                                        AUTOSET as soon as they are
                                        encountered.  This means that any
                                        such suggestion encountered during
                                        the processing of a measure of
                                        data will be put out at the
                                        beginning of the measure (i.e.,
                                        immediately following the previous
                                        bar line.


Summary of Control codes

     ' ' = extra note in chord
      $  = controlling musical attributes
      &  = comment mode toggle switch
      *  = musical directions
      A  = regular note
      B  =    "     "
      C  =    "     "
      D  =    "     "
      E  =    "     "
      F  =    "     "
      G  =    "     "
      /  = end of music or end of file
      @  = single line comment
      a  = append to previous line
      b  = backspace in time
      c  = cue size note
      f  = figured harmony
      g  = grace note
      i  = invisible rest
      m  = bar line
      r  = regular rest
      S  = sound directions
      P  = print suggestions