\def\ks#1{\noindent\hbox{{\tt \char\hex5C}\bf#1}}
\def\bs{\noindent\hbox{{\tt \char\hex5C}}}%Backslash
\def\lk{\hbox{{\tt\char\hex7B}}}%linke Klammer auf
\def\strich{{\hbox{\tt \char\hex7C}}}
\def\dpkt{{\hbox{\tt \char\hex3A}}}%Doppelpunkt
\def\gleich{{\hbox{\tt \char\hex3D}}}%
\def\slash{\noindent{\hbox{\tt \char\hex2F}}}
\def\blank{{\hbox{\tt \char\hex20}}}
%
\verbatimon
\normalbaselines
\openup\jot
\heading{Anhang A:\quad Beispiele}

Abschlie\3end sollen vier Musikst"ucke angef"ugt  werden,
die mit dem entwickelten Format gesetzt wurden.
Sie sollen zus"atzlich zu den im Text angegebenen Beispielen die
vorgestellten Verfahren verdeutlichen.
Zum Vergleich ist die Codierung des ersten, dritten und vierten Beispiels
hinzugef"ugt.

Das erste Beispiel wurde von D. Byrd \lit{\byrd} in der
Beschreibung als Test
seines Notensatzsystems verwendet.
%
Mit dem ersten und  zweiten Beispiel sollen die verschiedenen
im Format zur Verf"ugung gestellten Auschlu\3schemata
(|\hsmall|, |\small|, |\universal|, |\wide| und
|\loose|) verdeutlicht
werden.
Als drittes Beispiel wurde ein zweistimmiges St"uck ausgew"ahlt.
Das vierte ist ein Beispiel f"ur ein Musikst"uck, das mit Text unterlegt
wurde.

Beim Satz der Beispiele
zeigte sich, da\3 es notwendig ist, das Ausschlu\3schema abh"angig
vom Charakter des Musikst"uckes und von der gew"unschten Zeilenl"ange
auszuw"ahlen.
Die schon in Kapitel 9 angedeutete Problematik, da\3
innerhalb gr"o\3erer Nachbarschaften nicht umbrochen werden kann und
der Ausschlu\3 an dieser Stelle nicht mehr variabel ist, wird am
Beispiel von D. Byrd deutlich. Bei der gew"ahlten Zeilenl"ange
und dem Ausschlu\3 |\small| steht f"ur die letzte Zeile nicht gen"ugend
Satzmaterial zur Verf"ugung. Sie wird also nicht
zufriedenstellend ausgeschlossen.
W"ahlt man als Ausschlu\3 |\wide|, so wird das
St"uck weiter ausgeschlossen und die dritte Zeile kann gef"ullt werden.
Dabei wurde es jedoch notwendig, einen Takt in der Taktmitte zu teilen.

Umgekehrt konnten f"ur das zweite Beispiel mit engem und
universellem Ausschlu\3
(|\hsmall| und |\universal|)
gute Ergebnisse, jedoch   beim lockeren Ausschlu\3
(|\loose|) kein zufriedenstellendes Ergebnis erzielt werden.
Dies ist u.a. auch darauf zur"uckzuf"uhren, da\3 beim lockeren Ausschlu\3
die Takte sehr breit werden. Die Forderung, da\3 nur nach einem
Taktstrich umbrochen werden darf, f"uhrt hier zus"atzlich noch
zu einer "ubervollen Zeile.

F"ur das dritte und vierte
Beipiel wurde jeweils der universelle Ausschu\3 verwendet.
\vskip2cm
\vfill\supereject

%fuer die Beispiele \headings wieder zulassen!

\catcode`@=11
\def\headings{\par\hbox to \hsize{\hss\title@\hss}%
 \hbox to \hsize {\poet@\hss\comp@}%
 \def\comp@{\hbox{}}\def\poet@{\hbox{}}\def\title@{\hbox{}}}
\catcode`@ = 12


{\bf Beispiel 1  \rm (Ausschlu\3: Gomberg ``eng''(\verbatimon
|\small|) und ``weit'' (|\wide|))\Parsep
}
\vskip1cm
\let \baselines = \baselinesb
\parindent 40pt
\small
\title{\bf String Quartett}%
\composer{ Donald Byrd, 1968}%
\voice{Violin 1}%
\beginsong\vio\C\^n{moderato}{\vrule height 7\nhh width0pt \gluebrule}%
\meter9/8%
\pg\|%
\group{\\{\_v{\mezzopiano}{\v3\.1}}\\{\_v{{\it cant.}}{\h7\.1}}}
{\\{3}\\{7}}\uslur13\go\|%
\group{\\{\a8\.1}\\{\b4\a4\.1}\\{\b6\v6\.1}}
{\\{8}\\{4}\\{6}}\lbeam12\uslur13\go
\group{\\{\a3}\\{\a4}\\{\a5}}{\\{3}\\{4}\\{5}}\lbeam13\uslur13\go\|%
\group{\\{\n6\v6\.1}\\{\x4\v4\.1}}{\\{6}\\{4}}\uslur12\go
\group{\\{\a3}\\{\b4\a4}\\{\n5\a5}}{\\{3}\\{4}\\{5}}\lbeam13\uslur13\go
\|\meter6/8\v6\.1\group{\\{\v{10}\.1}\\{\|\meter9/8}%
\\{\_v{\crescendo}{\v{10}\.1}}}{\\{10}\\{8}\\{10}}\uslur13\go
\group{\\{\v9\.1}\\{\v{13}\.1}}{\\{9}\\{13}}\uslur12\go\|%
\group{\\{\b{14}\a{14}\.1}\\{\b{11}\a{11}\.1}}{\\{14}\\{11}}%
\lbeam12\uslur12\go
\group{\\{\v{15}\.1}\\{\a{15}}}{\\{15}\\{15}}\uslur12\go
\n{14}\v{14}\|%
\group{\\{\_v{\diminuendo}{\b{14}\v{14}\.1}}%
\\{\b{10}\v{10}\.1}\\{\v{12}\.1}}{\\{14}\\{10}\\{12}}\uslur13\go\|%
{\tenuto\v{11}\.1}%
\group{\\{\h7\.1}\\{\|\meter6/8}\\{\h7\.1}\\{\|}\\{\v7\.1}}
{\\{7}\\{8}\\{7}\\{8}\\{7}}\uslur13\uslur35\go
\group{\\{\_v{\piano}{\b7\v7\.1}}\\{\|\meter9/8}%
\\{\v{10}\.1}}{\\{7}\\{8}\\{10}}\uslur13\go
\pv\.1\|\pg\|\meter6/8%
\group{\\{\_v{\crescendo}{\a8}}\\{\b{11}\a{11}}\\{\a{13}}}
{\\{8}\\{11}\\{13}}\lbeam13\uslur13\go
\x{12}\v{12}\.1\|%
{\def\beamlist{\\{1-4,}\\{1-4,}}%
\group{\\{\s{10}}\\{\b{11}\s{11}}\\{\n{12}\s{12}}\\{\s{13}}}
{\\{10}\\{11}\\{12}\\{13}}\lbeam14\uslur14\go}%
{\def\beamlist{\\{1-4,}\\{1-4,}}%
\group{\\{\x{13}\s{13}}\\{\s{14}}\\{\x{15}\s{15}}\\{\x{16}\s{16}}}
{\\{13}\\{14}\\{15}\\{16}}\lbeam14\uslur14\go}%
\|\_v{{\it f}}{\a{17}}\pa\pa\pv\.1\=\endsong
\par
\Parsep\Parsep
\parindent 0pt
Die Eingabe zu diesem St"uck sieht wie folgt aus:
\vskip1cm
%%%%%%%%%%%%%
%%%  byrd%%%
%%%%%%%%%%%%%
{\bf!!}
\ks{title}\{String Quartett\}
\ks{composer}\{Donald Byrd, 1968\}\ks{voice}\{Violin 1\}\par
{\ks{treble}}\ks{text}\{\ks{\os{ }c} moderato\}
\ks{meter}\{{\bf9}\slash{\bf8}\}\par
{\bf 1p\strich\ks{slur}\{4.`a\{\ks{\us v}\ks{mezzopiano}\}
2.{`}{`}e\ks{text}\{\ks{\us v} cant\}\}}\strich \par
{\ks{slur}}{\bf \{\ks{beam}\{8.{`}{`}f b.`h\} b4{`}{`}.d\}}
\ks{slur}{\bf \{\ks{beam}\{8`a h {`}{`}c\}\}}\strich\par
{\bf{\ks{slur}}\{4n.d x`.h\}\ks{slur}\{\ks{beam}\{8`a bh n{`}{`}c\}\}}
\strich\par
{\bf{\ks{meter}}\{6\slash8\} 4.d
\ks{slur}\{{`}{`}.a\strich \ks{meter}\{9/8\}
{`}{`}.a\{\ks{\us v}\ks{crescendo}\}\}
\ks{slur}\{.f {`}{`}{`}.d\}}\strich\par
{\bf{\ks{slur}}\{\ks{beam}\{8.be b{`}{`}.h\}\}
\ks{slur}\{4{`}{`}{`}.f 8f\}
4ne}\strich\par
{\bf{\ks{slur}}\{b.e\{\ks{\us v}\ks{diminuendo}\}
b.{`}{`}a .{`}{`}{`}c\}}\strich\par
{\ks{tenuto}\bf.{`}{`}h \ks{noaccent} \ks{group}
\{2.e \strich\ks{meter}\{6\slash 8\} .e\strich 4.e\}\par
\ks{glsur}\{1-4,4-6\}\ks{slur}\{b.e\{\ks{\us v}\ks{piano}\}
\strich\ks{meter}\{9\slash 8\} .a\}
4.p}\strich\par
{\bf
1p\strich \ks{meter}\{6\slash 8\}\ks{slur}
\{\ks{beam}\{8f\{\ks{\us v}\ks{crescendo}\}bh {`}{`}{`}d\}\}
4x .c}\strich\par
{\bf{\ks{slur}}\{\ks{beam}\{{`}{`}6a bh n{`}{`}{`}c d\}\}
\ks{slur}\{\ks{beam}\{6xd e xf xg\}\}}\strich\par
{\bf 8a\{\ks{\us v}\ks{forte}\} p p 4.p \gleich !!}\Parsep\Parsep
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\vfill\break
Verwendet man weiten Ausschlu\3 (|\wide|), so erh"alt man:
\vskip1cm
\parindent=40pt
{\wide
\title{\bf String Quartett}%
\composer{Donald Byrd, 1968}%
\voice{Violin 1}%
\beginsong\vio\C\^n{moderato}{\vrule height7\nhh width0pt\gluebrule}%
\meter9/8%
\pg\|%
\group{\\{\_v{\mezzopiano}{\v3\.1}}\\{\_v{{\it cant.}}{\h7\.1}}}
{\\{3}\\{7}}\uslur13\go\|%
\group{\\{\a8\.1}\\{\b4\a4\.1}\\{\b6\v6\.1}}
{\\{8}\\{4}\\{6}}\lbeam12\uslur13\go
\group{\\{\a3}\\{\a4}\\{\a5}}{\\{3}\\{4}\\{5}}\lbeam13\uslur13\go\|%
\group{\\{\n6\v6\.1}\\{\x4\v4\.1}}{\\{6}\\{4}}\uslur12\go
\group{\\{\a3}\\{\b4\a4}\\{\n5\a5}}{\\{3}\\{4}\\{5}}\lbeam13\uslur13\go
\|\meter6/8\v6\.1\group{\\{\v{10}\.1}\\{\|\meter9/8}%
\\{\_v{\crescendo}{\v{10}\.1}}}{\\{10}\\{8}\\{10}}\uslur13\go
\group{\\{\v9\.1}\\{\v{13}\.1}}{\\{9}\\{13}}\uslur12\go\|%
\group{\\{\b{14}\a{14}\.1}\\{\b{11}\a{11}\.1}}{\\{14}\\{11}}%
\lbeam12\uslur12\go
\group{\\{\v{15}\.1}\\{\a{15}}}{\\{15}\\{15}}\uslur12\go
\n{14}\v{14}\|%
\group{\\{\_v{\diminuendo}{\b{14}\v{14}\.1}}%
\\{\b{10}\v{10}\.1}\\{\v{12}\.1}}{\\{14}\\{10}\\{12}}\uslur13\go\|%
{\tenuto\v{11}\.1}%
\group{\\{\h7\.1}\\{\|\meter6/8}\\{\h7\.1}\\{\|}\\{\v7\.1}}
{\\{7}\\{8}\\{7}\\{8}\\{7}}\uslur13\uslur35\go\+%
\group{\\{\_v{\piano}{\b7\v7\.1}}\\{\|\meter9/8}%
\\{\v{10}\.1}}{\\{7}\\{8}\\{10}}\uslur13\go
\pv\.1\|\pg\|\meter6/8%
\group{\\{\_v{\crescendo}{\a8}}\\{\b{11}\a{11}}\\{\a{13}}}
{\\{8}\\{11}\\{13}}\lbeam13\uslur13\go
\x{12}\v{12}\.1\|%
{\def\beamlist{\\{1-4,}\\{1-4,}}%
\group{\\{\s{10}}\\{\b{11}\s{11}}\\{\n{12}\s{12}}\\{\s{13}}}
{\\{10}\\{11}\\{12}\\{13}}\lbeam14\uslur14\go}%
{\def\beamlist{\\{1-4,}\\{1-4,}}%
\group{\\{\x{13}\s{13}}\\{\s{14}}\\{\x{15}\s{15}}\\{\x{16}\s{16}}}
{\\{13}\\{14}\\{15}\\{16}}\lbeam14\uslur14\go}%
\|\_v{{\it f}}{\a{17}}\pa\pa\pv\.1\=\endsong}
\par
\vfill \eject
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\parindent0pt
{\bf Beispiel 2 \rm (Ausschlu\3: Hader  (\verbatimon
|\hsmall|), Gomberg ``universell'' (|\universal|)) und
Gomberg ``locker'' (|\loose|)).}
\vskip2cm
\verbatimon
\hbox to \hsize{\hfill\bf Ausschlu\3: Hader (|\hsmall|)\hfill}
\Parsep
\hsmall\parindent0pt
\poet{\rm Allegro}\composer{Georg Friedrich H\"andel}
\beginsong\vio\C%
{\music\mC}%\meter4/4%
\a7\|\group{\\{\a5}\\{\a3}\\{\a5}\\{\a7}}{\\{5}\\{3}\\{5}\\{7}}%
\lbeam14\go%\uslur14\go
\group{\\{\a5}\\{\a{3}}}{\\{5}\\{3}}\lbeam12\go
\pa\a7\|%
\group{\\{\a5}\\{\a3}\\{\a5}\\{\a7}}{\\{5}\\{3}\\{5}\\{7}}\lbeam14\go
\group{\\{\a5}\\{\a{3}}}{\\{5}\\{3}}\lbeam12\go\pa\a7\|%
\group{\\{\a{10}}\\{\a3}\\{\a6}\\{\a8}}{\\{10}\\{3}\\{6}\\{8}}\lbeam14%
\go\v4\pa\a6\|%
\group{\\{\a{9}}\\{\a2}\\{\a5}\\{\a7}}{\\{9}\\{2}\\{5}\\{7}}%
\lbeam14\go\v3\pa\a5\|%
\group{\\{\a{8}}\\{\a6}\\{\a{11}}\\{\a{13}}}{\\{8}\\{6}\\{11}\\{13}}%
\lbeam14\go\x9\v9\pa\a9\|%
\group{\\{\a{11}}\\{\a4}\\{\a{6}}\\{\a{4}}}{\\{11}\\{4}\\{6}\\{4}}%
\lbeam14\go\v8\pa\a4\|%
\group{\\{\a{6}}\\{\a8}\\{\x9\a{9}}\\{\a{11}}}{\\{6}\\{8}\\{9}\\{11}}%
\lbeam14\go\v{13}\pa\x9\a9\|%
\group{\\{\a{10}}\\{\a7}\\{\a{11}}\\{\a7}}{\\{10}\\{7}\\{11}\\{7}}%
\lbeam14\go
\group{\\{\a{12}}\\{\a{7}}}{\\{12}\\{7}}\lbeam12\go
\group{\\{\v8}\\{\|}\\{\a{8}}\\{\a{7}}\\{\a{10}}\\{\a6}%
\\{\a{6}}\\{\a7}\\{\a{5}}\\{\a4}}
{\\{8}\\{8}\\{8}\\{7}\\{10}\\{6}\\{6}\\{7}\\{5}\\{4}}%
\lbeam36\lbeam7{10}\uslur13\uslur67\go\|%
\def\beamlist{\\{1-4,}\\{-2,-5,}}%
\group{\\{\a{5}\.1}\\{\s6}\\{\a{4}\.1}\\{\s{3}}}%
{\\{5}\\{6}\\{4}\\{3}}%
\lbeam16\go\v3\pa\a{11}\|%
\def\beamlist{\\{1-3,}\\{2-3,}}%
\group{\\{\a{12}}\\{\s{11}}\\{\s{10}}}{\\{12}\\{11}\\{10}}%
\lbeam13\go
\def\beamlist{\\{1-2,}}%
\group{\\{\a{9}}\\{\a{8}}}{\\{9}\\{8}}%
\lbeam12\go\v7\pa\a{8}\|%
\def\beamlist{\\{1-3,}\\{2-3,}}%
\group{\\{\a{9}}\\{\s{10}}\\{\s{9}}}{\\{9}\\{10}\\{9}}%
\lbeam13\go
\def\beamlist{\\{1-4,}\\{1-4,}}%
\group{\\{\s{8}}\\{\s{7}}\\{\s6}\\{\s5}}{\\{8}\\{7}\\{6}\\{5}}%
\lbeam14\go\v4\pa\a{2}\|%
\def\beamlist{\\{1-\the\N,}}%
\group{\\{\a{5}}\\{\a7}\\{\a9}\\{\b4\a4}}{\\{5}\\{7}\\{9}\\{4}}%
\lbeam14\go\v3\pa\a3\|%
\group{\\{\a{6}}\\{\x8\a8}\\{\a{10}}\\{\a5}}{\\{6}\\{8}\\{10}\\{5}}%
\lbeam14\go\n4\v4\pa\a4\|%
\group{\\{\a{7}}\\{\x9\a{9}}\\{\a{11}}\\{\a{6}}}{\\{7}\\{9}\\{11}\\{6}}%
\lbeam14\go\v5\pa\a{12}\|%
\group{\\{\a{12}}\\{\a{10}}\\{\a{8}}\\{\a{10}}}{\\{12}\\{10}\\{8}\\{10}}%
\lbeam14\go\v4\pa\a{13}\|%
\def\beamlist{\\{1-3,}\\{2-3,}}%
\group{\\{\a{11}}\\{\s{10}}\\{\s{9}}}{\\{11}\\{10}\\{9}}%
\lbeam13\go
\group{\\{\a{10}}\\{\a{11}}}{\\{10}\\{11}}%
\def\beamlist{\\{1-2,}}%
\lbeam12\go\v{12}\pa\a{9}\|%
\group{\\{\a{12}}\\{\a{9}}}{\\{12}\\{9}}%
\def\beamlist{\\{1-2,}}%
\lbeam12\go
\group{\\{\tr\a{7}\noaccent
\.1}\\{\z{6}}\\{\z{5}}}{\\{7}\\{6}\\{5}}%
\def\beamlist{\\{1-3,}\\{2-3,}\\{2-3,}}%
\lbeam14\go
\def\beamlist{\\{1-4,}}%
\group{\\{\a{8}}\\{\a{9}}\\{\a{7}}\\{\a{6}}}{\\{8}\\{9}\\{7}\\{6}}%
\lbeam14\go\|\v7%
\def\beamlist{\\{1-2,}\\{-2,}}%
\group{\\{\a{6}\.1}\\{\s{5}}}{\\{6}\\{5}}%
\lbeam13\go\v5\.1\=%                                      %
\endsong
\Parsep\Parsep
{\eightrm
Aus: Helmut M\"onkemeyer, Handleitung f"ur das Spiel der Blockfl\"ote,
Teil I, Edition Moeck Nr. 2033, Moeck Verlag, Celle.
}
\vfill\supereject
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\hbox to \hsize{\hfill\bf Ausschlu\3: Hader (|\universal|)\hfill}
\universal
\poet{\rm Allegro}\composer{ Georg Friedrich H\"andel}%
\beginsong\vio\C%
{\music\mC}%\meter4/4%
\a7\|\group{\\{\a5}\\{\a3}\\{\a5}\\{\a7}}{\\{5}\\{3}\\{5}\\{7}}%
\lbeam14\go%\uslur14\go
\group{\\{\a5}\\{\a{3}}}{\\{5}\\{3}}\lbeam12\go
\pa\a7\|%
\group{\\{\a5}\\{\a3}\\{\a5}\\{\a7}}{\\{5}\\{3}\\{5}\\{7}}\lbeam14\go
\group{\\{\a5}\\{\a{3}}}{\\{5}\\{3}}\lbeam12\go\pa\a7\|%
\group{\\{\a{10}}\\{\a3}\\{\a6}\\{\a8}}{\\{10}\\{3}\\{6}\\{8}}\lbeam14%
\go\v4\pa\a6\|%
\group{\\{\a{9}}\\{\a2}\\{\a5}\\{\a7}}{\\{9}\\{2}\\{5}\\{7}}%
\lbeam14\go\v3\pa\a5\|%
\group{\\{\a{8}}\\{\a6}\\{\a{11}}\\{\a{13}}}{\\{8}\\{6}\\{11}\\{13}}%
\lbeam14\go\x9\v9\pa\a9\|%
\group{\\{\a{11}}\\{\a4}\\{\a{6}}\\{\a{4}}}{\\{11}\\{4}\\{6}\\{4}}%
\lbeam14\go\v8\pa\a4\|%
\group{\\{\a{6}}\\{\a8}\\{\x9\a{9}}\\{\a{11}}}{\\{6}\\{8}\\{9}\\{11}}%
\lbeam14\go\v{13}\pa\x9\a9\|%
\group{\\{\a{10}}\\{\a7}\\{\a{11}}\\{\a7}}{\\{10}\\{7}\\{11}\\{7}}%
\lbeam14\go
\group{\\{\a{12}}\\{\a{7}}}{\\{12}\\{7}}\lbeam12\go
\group{\\{\v8}\\{\|}\\{\a{8}}\\{\a{7}}\\{\a{10}}\\{\a6}%
\\{\a{6}}\\{\a7}\\{\a{5}}\\{\a4}}
{\\{8}\\{8}\\{8}\\{7}\\{10}\\{6}\\{6}\\{7}\\{5}\\{4}}%
\lbeam36\lbeam7{10}\uslur13\uslur67\go\|%
\def\beamlist{\\{1-4,}\\{-2,-5,}}%
\group{\\{\a{5}\.1}\\{\s6}\\{\a{4}\.1}\\{\s{3}}}%
{\\{5}\\{6}\\{4}\\{3}}%
\lbeam16\go\v3\pa\a{11}\|%
\def\beamlist{\\{1-3,}\\{2-3,}}%
\group{\\{\a{12}}\\{\s{11}}\\{\s{10}}}{\\{12}\\{11}\\{10}}%
\lbeam13\go
\def\beamlist{\\{1-2,}}%
\group{\\{\a{9}}\\{\a{8}}}{\\{9}\\{8}}%
\lbeam12\go\v7\pa\a{8}\|%
\def\beamlist{\\{1-3,}\\{2-3,}}%
\group{\\{\a{9}}\\{\s{10}}\\{\s{9}}}{\\{9}\\{10}\\{9}}%
\lbeam13\go
\def\beamlist{\\{1-4,}\\{1-4,}}%
\group{\\{\s{8}}\\{\s{7}}\\{\s6}\\{\s5}}{\\{8}\\{7}\\{6}\\{5}}%
\lbeam14\go\v4\pa\a{2}\|%
\def\beamlist{\\{1-\the\N,}}%
\group{\\{\a{5}}\\{\a7}\\{\a9}\\{\b4\a4}}{\\{5}\\{7}\\{9}\\{4}}%
\lbeam14\go\v3\pa\a3\|%
\group{\\{\a{6}}\\{\x8\a8}\\{\a{10}}\\{\a5}}{\\{6}\\{8}\\{10}\\{5}}%
\lbeam14\go\n4\v4\pa\a4\|%
\group{\\{\a{7}}\\{\x9\a{9}}\\{\a{11}}\\{\a{6}}}{\\{7}\\{9}\\{11}\\{6}}%
\lbeam14\go\v5\pa\a{12}\|%
\group{\\{\a{12}}\\{\a{10}}\\{\a{8}}\\{\a{10}}}{\\{12}\\{10}\\{8}\\{10}}%
\lbeam14\go\v4\pa\a{13}\|%
\def\beamlist{\\{1-3,}\\{2-3,}}%
\group{\\{\a{11}}\\{\s{10}}\\{\s{9}}}{\\{11}\\{10}\\{9}}%
\lbeam13\go
\group{\\{\a{10}}\\{\a{11}}}{\\{10}\\{11}}%
\def\beamlist{\\{1-2,}}%
\lbeam12\go\v{12}\pa\a{9}\|%
\group{\\{\a{12}}\\{\a{9}}}{\\{12}\\{9}}%
\def\beamlist{\\{1-2,}}%
\lbeam12\go
\group{\\{\tr\a{7}\noaccent
\.1}\\{\z{6}}\\{\z{5}}}{\\{7}\\{6}\\{5}}%
\def\beamlist{\\{1-3,}\\{2-3,}\\{2-3,}}%
\lbeam14\go
\def\beamlist{\\{1-4,}}%
\group{\\{\a{8}}\\{\a{9}}\\{\a{7}}\\{\a{6}}}{\\{8}\\{9}\\{7}\\{6}}%
\lbeam14\go\|\v7%
\def\beamlist{\\{1-2,}\\{-2,}}%
\group{\\{\a{6}\.1}\\{\s{5}}}{\\{6}\\{5}}%
\lbeam13\go\v5\.1\=%                                      %
\endsong
\Parsep\Parsep\vfill\supereject
\advance \hsize+0.7cm
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\loose
\hbox to \hsize{\hfill\bf Ausschlu\3: Hader (|\loose|)\hfill}
\poet{\rm Allegro}\composer{ Georg Friedrich H\"andel}%
\beginsong\vio\C%
{\music\mC}%\meter4/4%
\a7\|\group{\\{\a5}\\{\a3}\\{\a5}\\{\a7}}{\\{5}\\{3}\\{5}\\{7}}%
\lbeam14\go%\uslur14\go
\group{\\{\a5}\\{\a{3}}}{\\{5}\\{3}}\lbeam12\go
\pa\a7\|%
\group{\\{\a5}\\{\a3}\\{\a5}\\{\a7}}{\\{5}\\{3}\\{5}\\{7}}\lbeam14\go
\group{\\{\a5}\\{\a{3}}}{\\{5}\\{3}}\lbeam12\go\pa\a7\|%
\group{\\{\a{10}}\\{\a3}\\{\a6}\\{\a8}}{\\{10}\\{3}\\{6}\\{8}}\lbeam14%
\go\v4\pa\a6\|%
\group{\\{\a{9}}\\{\a2}\\{\a5}\\{\a7}}{\\{9}\\{2}\\{5}\\{7}}%
\lbeam14\go\v3\pa\a5\|%
\group{\\{\a{8}}\\{\a6}\\{\a{11}}\\{\a{13}}}{\\{8}\\{6}\\{11}\\{13}}%
\lbeam14\go\x9\v9\pa\a9\|%
\group{\\{\a{11}}\\{\a4}\\{\a{6}}\\{\a{4}}}{\\{11}\\{4}\\{6}\\{4}}%
\lbeam14\go\v8\pa\a4\|%
\group{\\{\a{6}}\\{\a8}\\{\x9\a{9}}\\{\a{11}}}{\\{6}\\{8}\\{9}\\{11}}%
\lbeam14\go\v{13}\pa\x9\a9\|%
\group{\\{\a{10}}\\{\a7}\\{\a{11}}\\{\a7}}{\\{10}\\{7}\\{11}\\{7}}%
\lbeam14\go
\group{\\{\a{12}}\\{\a{7}}}{\\{12}\\{7}}\lbeam12\go
\group{\\{\v8}\\{\|}\\{\a{8}}\\{\a{7}}\\{\a{10}}\\{\a6}%
\\{\a{6}}\\{\a7}\\{\a{5}}\\{\a4}}
{\\{8}\\{8}\\{8}\\{7}\\{10}\\{6}\\{6}\\{7}\\{5}\\{4}}%
\lbeam36\lbeam7{10}\uslur13\uslur67\go\|%
\def\beamlist{\\{1-4,}\\{-2,-5,}}%
\group{\\{\a{5}\.1}\\{\s6}\\{\a{4}\.1}\\{\s{3}}}%
{\\{5}\\{6}\\{4}\\{3}}%
\lbeam16\go\v3\pa\a{11}\|%
\def\beamlist{\\{1-3,}\\{2-3,}}%
\group{\\{\a{12}}\\{\s{11}}\\{\s{10}}}{\\{12}\\{11}\\{10}}%
\lbeam13\go
\def\beamlist{\\{1-2,}}%
\group{\\{\a{9}}\\{\a{8}}}{\\{9}\\{8}}%
\lbeam12\go\v7\pa\a{8}\|%
\def\beamlist{\\{1-3,}\\{2-3,}}%
\group{\\{\a{9}}\\{\s{10}}\\{\s{9}}}{\\{9}\\{10}\\{9}}%
\lbeam13\go
\def\beamlist{\\{1-4,}\\{1-4,}}%
\group{\\{\s{8}}\\{\s{7}}\\{\s6}\\{\s5}}{\\{8}\\{7}\\{6}\\{5}}%
\lbeam14\go\v4\pa\a{2}\|%
\def\beamlist{\\{1-\the\N,}}%
\group{\\{\a{5}}\\{\a7}\\{\a9}\\{\b4\a4}}{\\{5}\\{7}\\{9}\\{4}}%
\lbeam14\go\v3\pa\a3\|%
\group{\\{\a{6}}\\{\x8\a8}\\{\a{10}}\\{\a5}}{\\{6}\\{8}\\{10}\\{5}}%
\lbeam14\go\n4\v4\pa\a4\|%
\group{\\{\a{7}}\\{\x9\a{9}}\\{\a{11}}\\{\a{6}}}{\\{7}\\{9}\\{11}\\{6}}%
\lbeam14\go\v5\pa\a{12}\|%
\group{\\{\a{12}}\\{\a{10}}\\{\a{8}}\\{\a{10}}}{\\{12}\\{10}\\{8}\\{10}}%
\lbeam14\go\v4\pa\a{13}\|%
\def\beamlist{\\{1-3,}\\{2-3,}}%
\group{\\{\a{11}}\\{\s{10}}\\{\s{9}}}{\\{11}\\{10}\\{9}}%
\lbeam13\go
\group{\\{\a{10}}\\{\a{11}}}{\\{10}\\{11}}%
\def\beamlist{\\{1-2,}}%
\lbeam12\go\v{12}\pa\a{9}\|%
\group{\\{\a{12}}\\{\a{9}}}{\\{12}\\{9}}%
\def\beamlist{\\{1-2,}}%
\lbeam12\go
\group{\\{\tr\a{7}\noaccent
\.1}\\{\z{6}}\\{\z{5}}}{\\{7}\\{6}\\{5}}%
\def\beamlist{\\{1-3,}\\{2-3,}\\{2-3,}}%
\lbeam14\go
\def\beamlist{\\{1-4,}}%
\group{\\{\a{8}}\\{\a{9}}\\{\a{7}}\\{\a{6}}}{\\{8}\\{9}\\{7}\\{6}}%
\lbeam14\go\|\v7%
\def\beamlist{\\{1-2,}\\{-2,}}%
\group{\\{\a{6}\.1}\\{\s{5}}}{\\{6}\\{5}}%
\lbeam13\go\v5\.1\=%                                      %
\endsong
\vfill\supereject
\advance \hsize-0.4cm
{\bf Beispiel 3  \rm(zweistimmiger Satz  in einem System)}
\vskip0.5cm
\universal
\title{\vbox{\hbox to 0pt{\hss 6 Suiten f"ur Cello Solo\hss}
            \hbox to 0pt{\hss Suite II Menuet I\hss}}}
\poet{\vtop{\hbox to 0pt{F"ur Viola "ubertragen \hss}
           \hbox to 0pt{von Franz Schmidtner\hss}}}
\composer{Johann Sebastian Bach}
\parindent 20pt
\beginsong\alto\F\meter3/4%
\rchord \h5\h7\h9\endchord\v{10}\|%
\two{\group{\\{\a{10}}\\{\a9}\\{\a{10}}\\{\a8}}{\\{10}\\{9}\\{10}\\{8}}%
\ubeam14\uslur12\go}{\rchord \a4\a6\endchord}%
\v9\|\rchord\v3\v5\endchord\v8%
\group{\\{\a7}\\{\a6}}{\\{7}\\{6}}\lbeam12\go\|%
\two{\group{\\{\a7}\\{\a6}\\{\a5}\\{\x4\a4}\\{\n3\a3}\\{\a2}}
{\\{7}\\{6}\\{5}\\{4}\\{3}\\{2}}\ubeam16\uslur13\go}%
{\a2}\|\rchord \h5\h7\h9\endchord\v{10}\|%
\two{\group{\\{\a{10}}\\{\a9}\\{\tenuto\a{10}}\\{\tenuto\a8\noaccent}}
{\\{10}\\{9}\\{10}\\{8}}\ubeam14\uslur12\go}{\a6}%
\v{11}\|\rchord\v7\v9\endchord\rchord\v3\v7\v{12}\endchord
\rchord\v1\v8\v{13}\endchord\|\rchord\h2\.1\h6\.1\x{11}\h{11}\.1\endchord
\leftrightrepeat
\rchord\h9\h{13}\endchord
{\def\beamlist{\\{1-3,}\\{2-3,}}%
\group{\\{\a{12}}\\{\s{13}}\\{\s{14}}}{\\{12}\\{13}\\{14}}\lbeam13%
\uslur13\go}\|
\two{\group{\\{\a{13}}\\{\a{12}}\\{\x{11}\a{11}}\\{\a{13}}\\{\a9}\\{\a8}}
{\\{13}\\{12}\\{11}\\{13}\\{9}\\{8}}\ubeam16\uslur15\go}{\a8}\|%
\two{\group{\\{\v9}\\{\v{12}}}{\\{9}\\{12}}\uslur12\go}{\h7}%
\x{11}\two{\v{11}}{\v6}\|%
\two{\group{\\{\a{15}}\\{\a{14}}\\{\a{13}}\\{\a{14}}\\{\a{12}}%
\\{\n{11}\a{11}}}
{\\{15}\\{14}\\{13}\\{14}\\{12}\\{11}}\ubeam16\uslur15\go}{\a5}\|%
\two{\h{10}}{\group{\\{\v8}\\{\v7}}{\\{8}\\{7}}\lslur12\go}%
\two{\v{11}}{\v6}\|%
\two{\group{\\{\a9}\\{\a8}\\{\a9}\\{\a7}}{\\{9}\\{8}\\{9}\\{7}}\ubeam14%
\go}{\a7}%
\rchord\v{12}\v6\v3\endchord\|\rchord\v{11}\v7\v2\endchord
\group{\\{\a{10}}\\{\a9}\\{\a8}\\{\a9}}{\\{10}\\{9}\\{8}\\{9}}\lbeam14\go
\|\group{\\{\a7}\\{\a6}\\{\a7}\\{\a9}\\{\a8}\\{\a{10}}}
{\\{7}\\{6}\\{7}\\{9}\\{8}\\{10}}\lbeam16\go\|%
\x7\two{\tr\h9\noaccent}{\h7}%
\two{\v{10}}{\pv}\|\b6%
\two{\group{\\{\a8}\\{\a7}\\{\a8}\\{\a6}}
{\\{8}\\{7}\\{8}\\{6}}\ubeam14\uslur12\go}{\a6}%
\x7\tr\v7\noaccent\|\rchord\v{12}\v8\v3\endchord\rchord\v{11}\v8\v4\endchord
\two{\group{\\{\a{10}}\\{\a9}}{\\{10}\\{9}}\ubeam12\uslur12\go}{\v5}\|%
\group{\\{\rchord\a{11}\a5\a1\endchord
}\\{\a{10}}\\{\a9}\\{\a{10}}\\{\a8}\\{\a{10}}}
{\\{1}\\{10}\\{9}\\{10}\\{8}\\{10}}\lbeam16\go\|%
\two{\group{\\{\v{12}}\\{\x{11}\v{11}}}
{\\{12}\\{11}}\uslur12\go}{\v8\pv}\n7%
\two{\v{12}}{\v7}\|\x4%
\two{\group{\\{\a8}\\{\a7}\\{\a8}\\{\a6}}
{\\{8}\\{7}\\{8}\\{6}}\ubeam14\uslur12\go}{\a4}%
\two{\v7}{\v5}\|%
\group{\\{\a1}\\{\a8}}{\\{1}\\{8}}\lbeam12\go\two{\tr\v6\.1}{\v2\.1}%
\two{\a5}{\raise-1.5\nhh\hbox{\pa}}\|\lchord\h5\.1\h2\.1\h{-2}\.1\endchord
\rightrepeat
\endsong
\parindent0pt
\vskip-1cm
{\eightrm
Aus: Johann Sebastian Bach, Sechs Suiten, f"ur Viola bearbeitet von
Franz Schmidtner, Musikverlag Hans Sikorski, Hamburg.
}
\vskip0.5cm
F"ur dieses Musikst"uck lautet die Eingabe:
\vskip0.5cm
%%%%%%%%%%%%%%%%%%
%%%%% bach %%%%%%%
%%%%%%%%%%%%%%%%%%
{\bf !!}
\ks{title}\{6 Suiten f"ur Cello Solo
\bs{atop} Suite II Menuet I\}\par
\ks{composer}\{Johann Sebastian Bach\}
\ks{poet}\{F"ur Viola "ubertragen \bs{atop} von Franz Schmidtner\}\par
\ks{alto}\ks{F}\ks{meter}\{{\bf3}\slash {\bf4}\}\ks{two}
\par{\bf \{\ \ \ \ks{chord}\{2`d f a\} 4h\strich
\ks{chord}\{'8c `e\}\slash\ \slash\ \slash\ 4a\strich
\par
\ks{chord}\{4,h `d\} g\ks{beam}\{8f e\}\strich
,8a \slash\ \slash\ \slash\ \slash\ \slash\ \strich
\ks{chord}\{`2d f a\} 4h\strich  8e
\slash\ \slash\ \slash\
{`}{`}4c \strich\par
\ks{chord}\{4`f a\}\ks{chord}\{,h `f {`}{`}d\}
\ks{chord}\{,g `g {`}{`}e\}\strich
\par\ks{chord}\{2.,a .`e .x{`}{`}c\}
\dpkt\strich\strich\dpkt
\par\ks{chord}\{2`a {`}{`}e\}\ks{slur}\{\ks{beam}\{8d 6e f\}\}\strich
8`g\slash\ \slash\ \slash\ \slash\ \slash\ \strich
2f \slash\ 4e\strich 8d \slash\ \slash\ \slash\ \slash\ \slash\strich
\ks{slur}\{4g f\}e\strich\par
8f\slash\ \slash\ \slash\
\ks{chord}\{4,h `e {`}{`}d\}\strich\ks{chord}\{4,a `f {`}{`}c\}
\ks{beam}\{8`h a g a\}\strich\par \ks{beam}\{8f e f a g h\}\strich
2xf 4p \strich b8e \slash\ \slash\ \slash\
4xf \ks{tr}\strich\ks{chord}\{4,h `g {`}{`}d\}
\ks{chord}\{4`c g {`}{`}c\} `d\slash\ \strich
\par\ks{beam}\{\ks{chord}\{,8g `d {`}{`}c\} 8`h a h g h\}\strich
4g p nf\strich 8xc \slash\ \slash\ \slash\ 4d\strich
\par\ks{beam}\{8,g `g\} 4.,a 8p\strich \ \slash\
\dpkt\strich\strich\ \ \}\par
\{\ \ \slash\ \slash\ \strich
\ks{beam}\{\ks{slur}\{8{`}h a\} h g\}\slash\ \strich
\slash\ \slash\ \slash\ \slash\ \strich
\ks{beam}\{\ks{slur}\{'8f e d\}xc ,nh a\}\strich
\slash\ \slash\ \strich\par\ks{beam}\{\ks{slur}\{8h a\}\ks{tenuto} h
f \ks{noaccent}\ \slash\ \}\strich
\slash\ \slash\ \slash\ \strich
\slash\ \dpkt\strich\strich\dpkt\par
\slash\ \slash\ \slash\ \slash\ \strich
\ks{beam}\{\ks{slur}\{8{`}{`}e d xc e `a\}g\}\strich
\ks{slur}\{`4a {`}{`}d\}xc\strich
\ks{beam}\{\ks{slur}\{8{`}{`}g f e f d \}nc\}\strich\par
`2h\slash\ {`}{`}4c\strich \ks{beam}\{8`a g a f\}\slash\ \strich
\slash\ \slash\ \slash\ \slash\ \slash\strich
\slash\ \slash\ \slash\ \slash\ \slash\ \slash\strich\par
2`a \ks{tr} 4h\strich
\ks{beam}\{\ks{slur}\{8g f\} g e\}\slash\strich
\slash\ \slash\ \ks{beam}\{\ks{slur}\{8h a\}\}\strich
\slash\ \slash\ \slash\ \slash\ \slash\ \slash\ \strich\par
\ks{slur}\{{`}{`}4d `a\} {`}{`}d\strich
\ks{beam}\{\ks{slur}\{8`g f\} g e\} 4f\strich
\slash\ \slash\ 4.e \ks{tr} 8d\strich
\ks{chord}\{2.,d .a `.d\}
\dpkt\strich\strich
\ \ \}     }{\bf!!}
\vfill\eject
\advance \hsize-0.3cm
{\bf Beispiel 4 \rm(Textunterlage)}
\vskip2cm
\title{Lobe den Herren}
\composer{Hugo Distler}
\def\@#1#2{{$\hbox{#1\hfill}\atop\hbox{#2\hfill}$}}
\def\lv{{\leaders\hrule \hskip1cm plus 1fill}}
\parindent 40pt
\voice{Sopran}%
\universal
\beginsong\vio\G\^r{{\rm Schnell}}{\vrule height 7\nhh width0pt%
\gluebrule}\meter3/4%
\^{\mezzoforte}\_{\@{Lo-}{Mei-}}{\v2}%
\_{\@{be}{ne}}{\v2}%
\_{\@{den}{ge - }}{\v6}\|%
\_{\@{Her-}{lie - }}{\v4\.1}\_{\@{ren, }{be - }}{\a3}%
\_l{\@{den}{te }}{\v2}\|%
\_l{\@{m"ach - }{See - }}{\v1}\_{\@{ti - }{le, }}{\v0}%
\_{\@{gen }{das }}{\v{-1}}\|%
\_{\@{K"o - }{ist }}{\h0}%
\group{\\{\_n{\@{nig \lv }{mein \lv }}{\v1}}\\{\|\meter2/4}\\{\v1}}
{\\{1}\\{0}\\{1}}\lslur13\go\_{\@{der }{Be- }}{\v2}\|\meter4/4%
\_{\@{Eh - }{geh - }}{\h3}\_{\@{ren!}{ren.}}{\h2}\rightrepeat\meter3/4%
%Ende Wiederholung
\_{Kom-}\^{\forte}{\v6}\_{met}{\v6}\_{zu}{\v6}\|%
\_{Hauf!}{\h7\.1}\caesura\|\_l{Psal - }{\v4}\_{ter}{\a5}%
\_l{und }{\a5}%
\group{\\{\_n{Har\hskip40pt - \hskip40pt -\hskip 40pt - \hskip40pt
}{\v6}}\\{\|}\\{\a6}\\{\a7}\\{\a6}\\{\a4}\\{\v6}%
\\{\|}\\{\a6}\\{\a7}\\{\v6\.1}\\{\a7}\\{\|}\\{\v6\.1}}
{\\{6}\\{8}\\{6}\\{7}\\{6}\\{4}\\{6}\\{8}\\{6}\\{7}\\{6}\\{7}\\{8}\\{6}}%
\lbeam36\lbeam9{10}\uslur13\uslur79\uslur1{14}\go
\_{fe,}{\a5}\_l{wacht}{\v4}\|%
\^{\piano}\_{auf, }{\h3}\group{\\{\_n{wacht}{\caesura\a4}}\\{\a2}}
{\\{4}\\{2}}\ubeam12\go\|\^{\dec}\_{auf,}{\h3}%
\group{\\{\_n{wacht}\^{zart}{\caesura\a4}}\\{\a2}}
{\\{4}\\{2}}\ubeam12\go\|\^{\dec}\_{auf,}{\h6\.1}\caesura\|%
\^{\forte}\_{las-}{\v{-1}}\_{set}{\v0\.1}\_{den}{\a1}\|%
\meter4/4\_{Lob - }{\h2}\_{ge - }{\v3}\_{sang}{\v4}\|\meter7/4%
\group{\\{\_n{h"o \hskip20pt - \hskip20pt - \hskip20pt
- }{\h5}}\\{\v4\.1}\\{\a3}\\{\v2}\\{\h3}}
{\\{5}\\{4}\\{3}\\{2}\\{9}}\uslur15\go
\|\meter3/4\_{ren!}{\h2\.1}\=\endsong
\parindent=0pt \eightrm
Aus: R. Baum,``Geselliges Chorbuch I'' B"arenreiter-Verlag, Kassel und
Basel.
\vskip1cm \rm Auch zu diesem St"uck sei die Eingabe aufgef"uhrt:
\vskip1cm
%%%%%%%%%%%%%%%%
%%%%%% distler%
%%%%%%%%%%%%%%%%
{\bf !!}\ks{title}\{Lobe den Herren\}
\ks{composer}\{Hugo Distler\}
\par
\ks{voice}\{Sopran\}
\ks{treble}\ks{signature}\{{`}{`}xf\}
\ks{text}\{\ks{\os{ }l} Schnell\}
\ks{meter}\{{\bf3}\slash {\bf4}\}\ks{vocal}
\par  {\bf\{\ \ \
4g\ks{mezzoforte} g {`}{`}d\strich `h. 8a 4g\strich f e d \strich 2e
\ks{slur}\{4f\strich\ks{meter}\{2\slash 4\} f\} 4g\strich
\par\ks{meter}\{4\slash 4\} 2a 2g\dpkt\strich\strich
\ks{meter}\{3\slash 4\} 4{`}{`}d d d \strich 2.e 0p\strich
\par `4h 8{`}{`}c c
\ks{group}\{4d\strich 8d e d `h 4{`}{`}d\strich 8d e 4.d 8e\strich 4.d\}
\ks{gslur}\{1-3, 1-13\}\par
\ks{gbeam}\{3-6, 9-10\} 8c 4`h\strich 2a
\ks{piano} 0p\ks{beam}\{8h g\}\strich\par 2a \ks{decr} 0p
%ks{beam}\{8h g\}\strich\par 2a \ks{decr} 0p
\ks{beam}\{8h \ks{text}\{{\rm zart}\}g\}\strich
{`}{`}2.d\ks{decr} 0p\strich
\par `4d\ks{forte} .e 8f\strich \ks{meter}\{4\slash 4\} 2g 4a h\strich
\par
\ks{meter}\{7\slash 4\}\ks{slur}\{`{}`2c `4.h 8a 4g 2a\}\strich
\ks{meter}\{3\slash 4\} 2.g \gleich\ \ \ \} }
\par
\{\ \ \ \{Lo-\bs{atop} Mei-\} \{be\bs{atop} ne\} \{den\bs{atop} ge-\}
\{Her-\bs{atop} lie-\} \{ren,\bs{atop} be-\}\par
\{den \bs{atop} te\} \{m"ach-\bs{atop} See-\}
\{ti-\bs{atop} le,\} \{gen\bs{atop} das\} \par
\{K"o-\bs{atop} ist\}
\{nig--\bs{atop} mein--\} \slash\
\{der\bs{atop} Be-\} \{Eh-\bs{atop} geh-\}
\{ren!\bs{atop} ren.\}
\par Kom- met zu Hauf! Psal- ter und Har-
\slash\ \slash\ \slash\
\slash\ \slash\ \slash\
\slash\ \slash\ \slash\ \slash\
fe, \par
wacht auf, wacht \slash\ auf, wacht\ \slash\ auf, \par
las- set
den Lob- ge- sang h"o-
\slash\ \slash\ \slash\ \slash\
ren!\ \ \ \}{\bf!!}
\vfill\eject
\verbatimoff

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