A musical part may consist of one or more musical lines (tracks). 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 (e.g., keyboard music) may be encoded as one or two musical parts. If the 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.

File Organization

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 representation 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

The Main Data Section

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 is also part of the musical representation. This system of describing record types with a control code allows for significant future expansion of the Stage2 file format. At the moment, there are twenty-one control codes in use and fourteen data types.

The Footnote Section

The optional footnote section begins after the /FINE record. The end of a Stage2 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.

Tagging Data According to Source and Editorial Level

Fonts can also be specified with print suggestions (described later in this document). Fonts specified in this way usually require a two-digit number.

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 Stage2 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

	Stage2 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.
	.
	Furthermore, if a Stage2 file is to be used as a source for converting to SCORE files, the division pointer may be backed up only when it points to the end of a measure, and from there it must be backed up to the beginning of the measure (for another full pass through the measure).

	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.

1. Musical attributes: control code = $

	column 1:		"$"
	column 2:		level number (optional)
	column 3:		footnote column
	columns 4--80:		attribute fields

	A record may contain one or more attribute fields. Fields are initiated by the field identifier and terminated by a blank. In the case of clefs and directives, the field identifier may also contain a number, which is the staff (1 or 2 at the moment) to which the clef or directive belongs. This is used for music on the grand staff. 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:		The non-standard single line staff for
			displaying certain percussion instruments
			is represented by a clef code = 0

	transposing part:

	This integer (positive or negative) indicates a transposing interval. 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 required to represent the part. 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.)

	columns 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.

	column 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 (dash character)

	From the data in columns 1 to 9, (i.e., pitch and duration), it is possible to reproduce sound 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.
.
	In the case where two instruments are represented in a part (e.g., Oboe I,II) and in certain places the Oboes are playing in unison (zu 2), we have adopted the convention that Oboe I is track 1, Oboe II is track 2, and Oboes playing zu 2 are track 3 (3 being 1 and 2 or'ed together). Using this convention, it is possible to know at all times what each Oboe is doing, This convention could be extended to three instruments in a part, using the numbers 1 to 7. In practice, this would not be a very readable score, however.

	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

	column	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)

	[		= startbeam
	=		= continue beam
	]		= endbeam
	/		= 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 encoding 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 and may be augmented and/or altered to meet future requirements.

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

	Ties, Slurs, Tuples (*)		Articulations and Accents

	-		= tie (dash)		A		= vertical accent (/\)
	J		= overhand back tie/slur		V		= vertical accent (\/)
	K		= underhand back tie/slur		>		= horizontal accent
	(		= open slur1		.		= staccato
	)		= close slur1		_		= legato
	[		= open slur2		=		= line with dot under it
	]		= close slur2		i		= spiccato
	{		= open slur3		,		= breath mark
	}		= close slur3		i		= spiccato
	z		= open slur4
	x		= close slur4
	*		= start tuplet
	!		= stop tuplet

			Accidentals on ornaments (must
	Ornaments		follow directly after ornament)

	t		= tr.		s		=		sharp (ss= double sharp)
	r		= turn		h		=		natural
	k		= delayed turn		b		=		flat (bb = double flat)
	w		= shake		u		=		next accidental is below
	~		= wavy line (trill)						rather than above ornament.
	c		= continue wavy line						In case accidentals appear
	M		= mordant						above and below ornament,
	j		= slide						the accidental above should
	T		= tremulo						be encoded first.
					U		=		next accidental follows
									tr. on same line (used
									only with trills)

	Technical Indications		Other Indications and Codes

	v		= up bow		S		= arpeggiate (shords)
	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 (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		= spiccate
	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)		r		= sharp (for ornaments)
	T		= tremulo		t		= tr.
	U		= next accidental follows		u		= next accidental is below
	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 = unassigned
	34		" = unassigned		55		7 = unassigned
	35		# = unassigned		55		8 = unassigned
	36		# = unassigned		57		8 = unassigned
	37		% = unassigned		58		: = next fingering
	38		& = editorial switch>		59		; = unassigned
	39		' = unassigned		60		= unassigned
	40		( = open slur1		61		= = line with dot under it
	41		) = close slur1		62		> = horizontal accent
	42		* = start tuplet		63		? = unassigned
	43		+ = cautionary accidental		64		@ = dead space (do not assign)
	44		, = breath mark		91		[ = open slur2
	45		- = tie (dash)		92		\ = unassigned
	46		. = staccato		93		] = close slur2
	47		/ = unassigned		94		^ = accidental above note
	48		0 = open string		95		_ = legato
	49		1 = fingering		96		` = unassigned
	50		2 = fingering		123		{ = open slur3
	51		3 = fingering		124		| = unassigned
	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 (from "Deck the Halls")

	Special text codes:	"-"	at the end of a word generates hyphens to the next text word on that line.
		"-"	alone continues hyphens.
		"_"	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.

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

	column	1:	blank
	columns	2-5:	pitch (see regular note)
	columns	6-8:	blanks (or duration, see regular note)
	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
	B =		longa

	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 horizontal 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 (special definition)
	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

	columns	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)
	columns	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: control code = g or c

	column	1:	g or c (same as 6 above)
	column	2:	blank
	columns	3-6:	pitch/rest (see regular note)
	column	7:	blanks
	column	8:	note type (same as 6 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
		3

	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 list
	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 codes = i, b

	columns	1-5:	"irest" = forward space (invisible rest)
			"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, or multiple instruments such as Oboe I and Oboe II).

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.

	The @ comment line is 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.

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

	column	1:	/		this line is a comment
	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: control code = S

	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.)

	Case 1: stealing time

	t<#>		=	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.

	Case 2: making time

	t<#>		=	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		=	whole-step trill (default)
		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 canceled.
		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: control code = P

	Print suggestions are just that: suggestions to music printing software for the inclusion and placement of various musical elements. The MuseData representation is designed to represent the logical content of a musical score, not the physical score itself. Yet from an applications standpoint, the display of musical data is by far the most important and useful application that draws from this data. Without the capability to translate Stage2 data into common music notation, the MuseData databases would be, at most, a highly specialized and arcane resource.
.
	Notice that this is only the second mention of the word "software" in this document. Whereas the MuseData representation is designed to be general in nature, software by its nature is highly specific. To be of any value to you, it must run on your computer, with the operating system you have. And you must know how to get the software, install it, and run it.
.
	Researchers at the Center for Computer Assisted Research in the Humanities (CCARH) have developed extensive software for the display and printing of Center's musical databases. We would love to make this software available to you. At present, however, we lack the resources to "customize" this software for your particular environment. To express this point in technical jargon, our software has great "back end" capabilities but a relatively poor "front end." For the moment, the best we can do is to translate our data into formats that are usable by software that is currently available. These formats include, MIDI, Kern (usable by the Humdrum toolset, developed by David Huron, et. al.) and SCORE (a commercially available music typesetting program developed by Leland Smith).
.
	This section on print suggestions is final section of this document. As far as the actual representation is concerned, print suggestions appear almost as an afterthought. However, this section is by far the largest section in the document, and the most "active." Almost all changes and additions to these specifications over the last five years have been in this section. And what does this tell us? It makes the following points again:

	1.	music printing is the most important application of this data representation.
	2.	music layout is a complex process, that extends well beyond the logical content represented by MuseData.
	3.	most of the current advances in our knowledge of how to represent music are related to music printing. The basic ideas on how to represent the logical content of a musical score haven't changed a lot.

So the print suggestions described below are designed to work with the CCARH autoset and autoscr programs. The suggestions have been designed to be as generic as possible. Vertical and horizontal spaces are specified in terms of staff line spacing. The shape of things such as ties and slurs is specified only in the most general way. Most of the suggestions center around questions of vertical placement; very little around horizontal placement. The reason is that when parts are combined into a score, the horizontal placement of notes can change radically. Our philosophy has been to rely on print suggestions as little as possible, and let the software do most of the work. Presumably, this will result in a more general representation of the music.

	Format of 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 "(less than)" 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
	"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 relevant application letter codes is mandatory. 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.
.
	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.

	s1. Orientation of slurs

	Field designator:		C32: to C43:	(depending on the location of the 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.

	s2. Orientation of ties

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

	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.

	s3. Tuplet and tuplet bracket (default is no bracket)

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

	Field designator:		C32: to C43:	(depending on the location of the 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 the location of the 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: up
	# < 0: down

	s4. 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: up
	# < 0: down

		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 shapes are possible)

		p<#>		=	printout modifier

	# = 0:		(default)

	suggestions asking that something not be printed

	# = 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 allocate 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 allocated 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 allocated space. Otherwise the parts will not be combined into chords. Note: If the parts are not fully isorhythmic, then wedge boundaries within a set of beamed notes will always prevent these notes being combined into chords.

	s5. 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: up
	# < 0: down

		Y<#>		=	y position relative to note object. (units are in tenths of interline distance)
		L<#>		=	(ties only) change end point of a tie (+ or -). (units are in tenths of interline distance)
		a		=	place notation above note object (override default)
		b		=	place notation below note object (override 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 extension dots and the tie.

	Notations for which this feature doesn't work

	arpeggiated chords, tuplets, ped *
	(slurs are dealt with below)

	s6. Shape and location of slurs

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

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

	To suppress printing of slur:

	Data element:	*		=	suppress printing of a slur. This is used when the slur occurs in conjunction with a tuple

	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 (units are in tenths of interline distance)

	# > 0: up
	# < 0: down

					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 ENGING 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: up
	# < 0: down

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

	s7. 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 an extension dot to the note. This variant 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. Whereas the presence of the dot signals extra notes (e.g., triplets) in the group, 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 will not be represented as a repeater.

	s8. 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.

	s9. Suggestions for musical directions

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

	Data elements:	a		=	use repeater for next beam only.
		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: up
	# < 0: down

		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.
.
					This suggestion eliminates the need to place the font number in the ASCII string of the musical direction. This is actually a better technique, since it clarifies the distinction between the musical direction and the font used to display it. Placing the font number directly in the ASCII string was an earlier implementation and is retained for reasons of compatibility with older data.

	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	-->		(1) Ps = Apply this suggestion only when typesetting the i-files for a score.
					(2) C25:f0 = "don't print the musical directive in the line above this one."

	s10. 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.
	Suggestion codes:	]		=	use system justification to force this bar line to the end of a system.

	Note:		This suggestion is very helpful in the page layout process for scores and parts. Page layout (design) depends directly on the location of system breaks. It is perhaps the first and most basic question that must be decided when typesetting music. Knowing where to put system (line) breaks depends on knowing the space required by individual measures, which can only be known after an initial attempt has be made to typeset the music. So this type of print suggestion is typically added after an initial attempt at typesetting has been made. This is a good example of the relationship of a print suggestion to a particular output.

	s11. 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:	place staccato and/or legato above note 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, e.g., half and quarter notes)

	0 =	don't allow mixed colors in chords use 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.)

	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). This is the primary tool for setting horizontal spacing. As such, it plays an important role in the page layout process.

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

	q<#>		=	duration which is assigned the minimum distance

	0 =	recompute default (from this point onward)
	1 =	whole note
	2 =	half note
	4 =	quarter note
	8 =	eighth note
	...

	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 suggestion, 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.

	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 this part in every system (default)
	# = 1:	omit this part from a system when the line contains only whole rests

	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).

	z<#> = abbreviated part name flag (type= Y P)

	# = font number. (0 = flag OFF). (when # > 0) = the abbreviated part name. Use the "_" character to indicate a blank. Use the "/" character to indicate a second instrument or to otherwise split the line

	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).