# Documentation for the byzantinemusic.sty package.

Charalampos Milt. Cornaros

2016/04/15

###### Abstract

The byzantinemusic package gives us the ability to directly type Byzantine Ecclesiastical musical and traditional Panhellenic and Eastern folk music using the Xq1TeX machine and BZ-fonts font family.

###### Contents

* 1 Introduction
* 2 Basic commands
* 3Stacking objects * 3.1 Building brackets and positioning them * 3.2 Construction of initial martyries * 3.3 An example of the construction of a tower.
* 4 Variable distances between characters
* 5 Invisable vertical lines
* 6 Basic parameters and the change commands
* 7 Text coloring
* 8 Some other commands
	* 8.1 The formatting commands
* 9 Writing polytonic texts
* 10 Future plans
* 11 Acknowledgments
* 12 Two musical examples
* 13 List of musical commands
	* 13.1 Symbols for ascending and descending
	* 13.2 Rest symbols
	* 13.3 Qualitative signs
	* 13.4 Apple(small dot) - diple - triple
	* 13.5 Small ison and musical hyphen
	* 13.6 Signs that add duration
	* 13.7 Signs that divide the duration
	* 13.8 The argon, diargon and triargon
	* 13.9 The cross, apostrophe (breathings) and corona
* 13.10 Measures and bars
* 13.11 Sharps and flats
* 13.12 Martyries and note signs
* 13.13 Some useful combinations of martyries
* 13.14 Initial martyries of modes


BYZANTINA 1.1 ([http://www.melodima.gr/index.php?pg=downloads&lg=gr](http://www.melodima.gr/index.php?pg=downloads&lg=gr)). Our package does not correct (for now) spelling mistakes that someone will likely make violating the spelling rules of BM. However it provides the opportunity for easy manual correction of those errors without the need of any extra automation. It also offers many other possibilities, such as easier typing, as well as an an interchange of musical documents among the users of the package and the construction of a large electronic base with BM texts. In addition, it offers the possibility of notating all the instruments of a traditional folk orchestra and the works of musicians from countries that have true roots and tradition in BM. In Eastern Europe, the staff is being used to note down (with the exception of Greece and Cyprus). Generally, with today's options of TeX offsprings any automation or other feature that may already exist in a notation program for BM could be achieved with our package. This can be done in a professional way and totally free!

## 2 Basic commands

Each simple symbol of Byzantine music corresponds to a command with a short name, usually up to three letters. Simple symbols are divided into two categories: main and auxiliary. Auxiliary symbols usually have at the right of their names some additional indications marked with capital letters. The most common signs are the M, D, A, P, K and DD. These are always assigned in relation to the normal position of the auxiliary symbol, when it is placed over or under the main symbol \iso of the BZ-fonts family, exactly as designed by the manufacturer of BZ-fonts. The M, for example, means that its position is just below the \(\alpha\)ov. The K sign is in line with the M but in a lower position. The D stands for the right side of the \(\alpha\)ov and the A for the left. The P indicates that it is located far above the center of the \(\alpha\)ov, while the DD means far to the right. The construction of a composite combination usually starts from a main musical symbol(i.e. command) and places one or more auxiliary symbols to the right.



_Example:_

With \th{\iso}[\n ne \(\varepsilon\)] we achieve \(l_{\varepsilon}\). (Using the command \(\backslash\)ne we achieve \(l_{\varepsilon}\).) Similarly, using the other commands we get respectively:

The \(\backslash\)**bm** is the most useful command for placing a character, multiple characters or generally any composite object at a specific point on the page. It gives us the opportunity to feel like typographers that could place our symbols (metallic movable types) on any point of the "matrix", as it was used in the good old days... Its syntax is

\(\backslash\)bm[object1, horizontal - displacement1,

vertical-displacement1][object2, horizontal-displacement2, vertical

displacement2] etc...

The horizontal and vertical displacements are determined by small decimals related to the length and height of the \(\langle\)_\(\alpha\)_\(\rangle\)_\(\rangle\)_symbol of BM. The zero value (0) in any given direction does not move the object in that direction.

_Example:_

The petaste \pet(\) from the left of \typespyspksypoli(\)

\(\Rightarrow\) and below

\bm[\}pet,0.12,-0.28] \typespyspskypsi\(\Rightarrow\)

The number 0.12 is positive, which means a horizontal movement to the right while -0.28 is negative which means placement vertically downwards. All in all, petaste was moved downwards and to the right of \typespyspskypsi as we would do by hand if we wanted to place the petaste under it.

Another example: the \ets is not correctly placed because the \etszn(=sharp) \dMD (\(\heartsuit\)) is overlaying the \etszepov\eteKDD (\heartsuit\). The combination is written more correctly with proper movement of the \etszn upwards and to the left of its normal position.

\gapot\bm[\}dMD,-0.05,0.1]\eteKDD \(\Rightarrow\)

## 3 Stacking objects

The \bm command requires a measure of test and trial to find the proper values in order to place our objects in the desired position. If we are interested only in stacking an object above or below another then it is preferable to use some other LaTeX commands or commands of the stack-engine package. For this reason we created some additional auxiliary commands for the vertical positioning of isokratima, martyries and other symbols.

In order to place isokratema(\(\omega\omega\omega\omega\tau\eta\omega\)) over notes we use the command \s. The name s is derived from the first letter of the \stackengine command to remind us of the use of this command in the construction of \s. The \**marts** command is similar to \s but is used in the construction of martyries(\(\omega\sigma\upsilon\iota\varepsilon\varsigma\)) and finally, the \**xrs** command is used when we want to introduce time signatures in our musical texts at various appropriate heights. To construct rhythmic patterns(meters) with \arsi (\), \thesi (\o) and \makers (.), we use the command \**stackon** of the stackengine package. The \stackon command is a simplification of the command \stackengine. In \stackon the first argument is optional and as such is included in []. Two mandatory arguments follow and they are included in . In the optional argument we insert the intermediate distance of the stacked objects using some proper measurement unit lengths like 0.2em or 10pt, while for the next two arguments we put the bottom object (located at 0 level) and then the object above it (located on the first level). The syntax of \s, \marts, and \xrs is the same. There are only two optional arguments.

_Example:_

\s[(K)][\iso] \(\Rightarrow\)

\marts[\padiaa][\dik] \(\Rightarrow\)

\xrs[\bbbmchi][\dibm] \(\Rightarrow\)

\stackon[0.2em]{\arsh}{\red\makra\makra\makra\makra} \(\Rightarrow\) \(\overset{\rightarrow}{\mathbf{i}}\). The \red command is used when we want to color an object red. Regarding the colors, we will give more details below.

### Building brackets and positioning them

We can properly use the \**bsline** to put braces, brackets, parentheses etc. of variable heights and width directly on the baseline. _Brackets_ of variable height are easily constructed with the help of the command \**agkylh.** Let us note the difference:\agkylh[1]{\{}\}\(\Rightarrow\left\{\text{and }\backslash\text{bsline}\{\backslash\text{agkylh[1]{\{\}}}\} \Rightarrow\left\{\text{ }\right.\}\right\}\Rightarrow\left\{\text{ }\right.\)

The symbols {and } are used exclusively for the construction of LaTeX commands and should never be inserted in the text. If we want to insert the braces somewhere in the text then we have to use the backslash \ and type \{ or \}. For this reason we used the symbol \{ inside the command \agkylh[...]{... }. Moreover, instead of \{ we can alternatively insert some other commands (constructing mathematical figures) or other simple bracket-like shapes like parentheses (, ), \(|\)(=\Vert), }(=\angle), \(\langle\)(=\rangle\(\mid\)angle), \(\backslash\), \(\backslash\) (but excluding the brackets ] and [ ). The \bsline\object\ is the abbreviation of the \stackon[0ex]{ }{object} command. The main disadvantage of \agkylh is that it accepts only mathematical shapes of TeX and not something else, such as a letter. All symbols mentioned above are considered mathematical symbols and for this reason can be used as an argument of \agkylh.

The 1 inside the \agkylh command sets the amount of the height of the left parenthesis { (as a percentage of the total height of the musical character \iso, ie. 1 = 100 % of the height of \iso) and can be changed to any integer or decimal value we like.

Instead of \agkylh command there are also \leftbracket[number] and \rightbracket[number] commands to take the [ and ] with a variable in height.

Example: \rightbracket[1] \(\Rightarrow\)

There are also starred versions eg. \agkylh*[number] {figure} and \leftbracket*[number] to position our brackets _horizontally_.

If we want to simultaneously change the thickness and height of our braces we make the \thickness\**thickshape** command available with the syntax

\thickness\**thickshape[! or a thickness unit eg. 10 pt][a number for the enlargement] {any shape}.

The! is the normal thickness of the shape for this specific enlargement. Otherwise, we must insert a number in some typographic unit of the measurement of the thickness eg. the pt (point). The \thickness\**much more general than \agkylh, because the latter can not accept any 




shift of the character after the \met. The \met and \keno may cause problems when using large negative values because they could move all the characters on their right hand side to the left )

_Example:_

\th{\apo}[ov]\keno\th{\kediam}\(\Rightarrow\)ov

\th{\apo}[ov]\keno[0.5]\th{\kediam}\(\Rightarrow\)ov

\th{\apo}[ov]\th{\kediam}\(\Rightarrow\)ov (the \th commands without \keno and without intermediate space )

\th{\apo}[ov]\th{\kediam}\(\Rightarrow\)ov (the \th commands without \keno and with an intermediate space)

\th{\apo}[ov]\keno[-0.1]\th{\kediam}\(\Rightarrow\)ov (negative \keno)

\th{\apo}[ov]\kedeno[-0.1]\th{\kediam}\(\Rightarrow\)ov (negative \keno)

\th{\apo}[ov]\th{\kodiam}\(\Rightarrow\)ov (tree \p in line)

\iso\met\iso\(\Rightarrow\)(a small displacement )

\iso\met[0.5]\iso\(\Rightarrow\)(a bigger one)\iso\met[-1.5]\iso\apo\apo\

A problem that may arise with the negative met: the second red iso is shifted too far to the left, affecting the apostrophe, which falls on the first iso!) Using the command \bm the problem can be solved.

\iso\bm[\iso, -1.5]\apo\(\Rightarrow\)The \bm command always moves its objects without affecting the other objects around it!

_Example:_

\(\circ\) (=\)\(\backslash\)padiafD) is positioned on \(\overset{\chi}{\varphi}\)(=\(\backslash\)kekediam) without affecting \iso:

\iso\bm[\backslash\)padiafD,0.3]\kekediam\iso\(\Rightarrow\)

For an exact **vertical** movement of our musical characters or combination of characters, as well as any kind of objects, we also created the command \**rbox** with the following syntax

\rbox[+ or - number] {character (to be moved) }.

This is derived from the initial letters r and box of the LaTeX command **raisebox** (with the help of which the \rbox command is defined). It can be combined with any other commands such as the \s command.

_Example:_

\s[\rbox[-0.8]\{(NH)\}][\(\varepsilon\alpha\nu\)] \(\Rightarrow\)\(\varepsilon\alpha\nu\). And

\s[(NH)][oh!] \(\Rightarrow\) oh! (without the \rbox the isokraterna (NH) is much higher than the oh! and almost touches the top line!)\th{\rbox[0.3]{\iso}}[up]\(\Rightarrow\)up, and without \rbox: \th{\iso}[up]\(\Rightarrow\)up. Lowering with a negative value \rbox[-1.3]{\iso}\(\Rightarrow\)The use of \rbox has a drawback. When we move a character too high or too low it crosses over onto the previous line or the next line. This effect is not always desirable. For this reason we created a command similar to the \rbox. The command \rbox* helps us to enlarge the distance between consecutive lines so that the objects do not cross. This is the main reason we have used the \rbox* rather than \rbox for the construction of levels in the example above. Of course, for small displacements it is not preferable to change the distance between consecutive lines. In these cases it is better to use the \rbox.

## 5 Invisable vertical lines

To construct the commands \th, \agkylh, towers etc. there needs to be some invisible vertical lines (of zero thickness) of a fixed or variable height so that we can control the overall height of the shape or of the stack, regardless of the height of objects stacked. For example, the command \r**ul** has been constructed to be used exclusively with the \th command. If we are not satisfied with the total amount of height of \th, then it is possible to change it using the command \**changethheight**, eg. \changethheight[1.7]. We have selected 1.9 as the pre-determined \rul height but with \changethheight we can give any value to it.

With the command \**katheth[number]** we make an invisible vertical line of variable height, which is determined by the number, eg\katheth[2]\(\Rightarrow\) (in this example we revealed the \katheth[2] just to see the actual height and thus the greater distance we have achieved between the line in which the \katheth is placed and the line above it.)

## 6 Basic parameters and the change commands

There are some additional parameters and commands that determine the final appearance of our musical text. The \**ypsosisokrathmatos** has a default value of 1.3 (% percentage of the height of \iso symbol) and affects the command \s i.e. it sets the height of isokratema over the musical line. The \**ypsosmartyrias** (with a pre-determined value 0.02 % of the value of \iso) is similar to \ypsosisokrathmatos but affects the command \marts and finally the \**ypsosxronou** (with the pre-determined value 1.02 % of the \iso's height) is used in \xrs. The command \**changemusictextgap** is used to change the gap between a musical note and the syllable located exactly below it. The pre-determined value has been chosen 0.27 (i.e. the gap is 0.27 % of the total height of the \iso symbol in our musical font). If this distance does not suit us then we can decrease or increase it depending on the visual effect we want to achieve. We can compare the distances as given in the following example.

_Example:_

\changemusictextgap[0.87] \th{\iso}[one] \(\Rightarrow\) one and

\changemusictextgap[0.27] \th{\iso}[two] \(\Rightarrow\) two

Naturally, it is not a good idea to change this value unnecessarily, in order to always have a uniform gap between notes and syllables for the whole song. We could also change the pre-determined values of the parameters mentioned above with similar change commands such as \changeypsosisokrathmatos, \changeypsosmarrtyrias and \changeypsosxronou respectively. I should have mentioned that there are many other commands with prefix \**change**.

The \**changetextfont** with this syntax

\changetextfont[font name]

has been naturally designed to change the text-font and uses internally the the \fontspec package. Currently there is no option to change the musical font, because most well-designed musical fonts of BM are not free.

_Example:_

\changetextfont[GFS Artemisia] \(\Rightarrow\)I was written using GFS Artemisia font while \changetextfont[GFS Neohellenic] \(\Rightarrow\)I was written using GFS Neohellenic font!

Of course we can return to the original chosen font i.e. our main text font using the command \normalfont or the \changetextfont[] command with no arguments.

Obviously, fonts must have already been installed either in our computer or in our TeX distribution or otherwise pre-exist in the same folder with the current musical folder, so that the \fontspec package could identify them when the \changetextfont command is used! It is surprising that we can access hundreds, perhaps even thousands of fonts ready for use with XeTeX, without them needing to be installed! Note that the font name must be correctly typed. Never put a space before or after the font name, for example, \changetextfont[ Arial ] could cause a serious problem! Our fonts must be of.ttf or.oft type.

Another useful and relevant command is \**changetextscale** that gives us the ability to change the font size of the text by a percentage as well as \**changetextsize** to change its size. The \**changetextcolor** changes the text color from black to a wide array of choices.

_Example:_

\changetextscale[1.5] \(\Rightarrow\)I have grown taller 1.5 times and my color is now \changetextcolor[red] \(\Rightarrow\)red! \changetextscale[]. \changetextsize[10] \(\Rightarrow\)My font size is only 10pt. To return to the pre-determined size and color i.e. 12pt and black respectively, we could write simply \changetextcolor[] and \changetextsize[]. We can define our own "mycolor" color with the command \**definecolor** and colorize any text!

_Example:_

\definecolor{mycolor}{RGB}{50,150,220}Then we can use our color to change the text color:

\changetextcolor[mycolor] Do you like this color?

Here we should note that the \(\Rightarrow\) is not a character among any font but is a mathematical shape (an arrow defined by the command \Rightarrow) and has been designed exclusively in TeX. There are hundreds of such symbols as the square root (\(\sqrt{-}\)) or \Vert command as encountered above. This is the reason that \(\Rightarrow\) has not changed its size or color in the above example. The \agkylh, as designed, can accept only mathematical symbols of TeX in its arguments, as already mentioned, and therefore is also not affected with text commands like the \changeetcolor. In order to change the color of a mathematical TeX shape, we should use the command \**color** with syntax \color{a color }, while to change the size of it we could use other appropriate commands such as \thickshape. It should also be noted that when we intend to insert a field (i.e. a string) of mathematical symbols in our text, then we must use some special characters at the beginning and at the end of the field to inform the TeX engine about our intention. The most common character for mathematical fields is the dollar sign $ which is inserted at the beginning and at the end of the field.

_Example:_

\color{red} \Rightarrow$ to achieve \(\Rightarrow\) and

\thickshape[!][0.5]{$\color{red}\Rightarrow $} to achieve

\color{red} \thickshape[!][0.5]{$\Rightarrow $} to achieve

\color{red} and

\color{red} I am colored red!} to I am colored red! I am not!


corresponding to tromikon, paraklitiki, eteron, argon, endofono, ekstrepto, piasma, flat and sharps, lygisma, meters, martyries, fthores and isokratema respectively. The antikenoma, psfisston, aple, klasma and tempo signatures have their color parameters \**antcolor**, **pshcolor**, **aplhcolor**, **klacolor** and **tempocolor** respectively in black, the \(\pi\omega\omega\omega\)(resets) have also color parameter \**paycolor** in black and the color parameters for anapoi \**anacolor**, stayros \**stayroscolor** and corona \**korwnacolor** have blue as their default value. To change these default values we can use their corresponding change commands.

_Example:_

\(\backslash\)changestayroscolor[mycolor]. We could come back to the pre-defined color, if it is desired, simply by typing the command with an empty argument eg. \(\backslash\)changestayroscolor[].

## 8 Some other commands

Besides the above \change commands we could also use \**changemusciscale** to re-scale our musical symbols by a percentage and the \**- change-musicsize** command to change the size of the musical symbols. Their default values are 1 and 22 respectively, but we could give them any other value. 1 means 100% i.e. no zooming in or out while 22 means 2 pt (points). We are also concerned with the isokratema font. The \**changeisokrathmasize** command changes the size of the isokratema font.

_Example:_

\changemusicsize[40] \changeisokrathmasize[30]\(\Rightarrow\) I2O!.

To return to the default size of the musical fonts (ie. to 22pt or to 100 %) we simply write \changemusicalsize[] and \changemusicscale[] respectively. 40 in \changemusicsize[40] refers to the musical font size of 40 pt. We never write the pt next to the number in the \changemusicsize eg. \changemusicsize[40pt] because it will create a problem! It should also be noted that when we make these changes in size then the distance \rul (see above) is automatically altered; thus all the visual effects we get with the command \th. There is no need to simultaneously change the \changemusicscale and \changemusicsize. The basic difference is that \changemusicscale will simultaneously change the size of the isokratema font while \changemusicsize will not. If we prefer to use the \changemusicalsize command and at the same time want to make a change in the size of the isokratema font, then we should use the command \changeisokrathmasize in addition to. \changeisokrathmasize.

### Changetolerance and changespackig commands

Sometimes our musical syllables are not well aligned with the right margin and extend themselves further. In such cases it is advisable to use the auxiliary command **changetolerance** with the syntax

\begin{tabular}{}



environment \begin{byzantinemmusic} and when we finish our musical text, the \end{byzantinemmusic}.

### The formatting commands

Sometimes, we do not have a whole range of fonts of a family at our disposal, ready for use. For instance, we may need a specific font that it is not available to us, or its author did not care to design the thick (bold) or slanted version of it. In such cases, there are appropriate commands in the fontspec package to help us. We have built three more auxiliary text formatting commands for the needs of our package. Of course, we can use many other commands of fontspec or another package to get exactly the desired appearance of our letters. The new formatting commands are \changetextbold, \changetextslant and \changetextstretch. The last command has nothing to do with the stretch of empty space mentioned previously nor does the changespaceskip environment. It just deforms our font letters by a percentage.

_Example:_

We could use the \changetextbold[0.6] **command to make our letters thicker. We can put an even greater number for even better results: \changetextbold[1.5] Using the command \changetextbold[]** we return to the normal thickness. We can also slant our characters with the command \changetextslant[0.3] _and come back to its normal sloping position with the command \changetextslant[]_. Of course, if we like experimentation we could use the \changetextstretch[1.3] **command but the use of large values could give \changetextstretch[2]**undesirable results! **We could simply return to normal by typing \changetextstretch[]**.

## 9 Writing polytonic texts

To write polytonic texts more easily, we should insert in our preamble an appropriate package using the command \usepackage {gerektonoi } (for information [http://ctan.sharelatex.com/tex-archive/language/greek/greektonoi/greektonoi.pdf](http://ctan.sharelatex.com/tex-archive/language/greek/greektonoi/greektonoi.pdf)) to introduce accents and breaths in large 


For your consideration, it is necessary to built an OCR tool that converts printed musical text in XgLIFX in order to create this database quickly. It would also be useful to make a program that could convert the musical text to Midi files. For the latter we have already progressed somewhat with the help of the abcnotation program. Details are on our website [http://samosweb.aegean.gr/mathmusical/](http://samosweb.aegean.gr/mathmusical/). Finally, it would be worthwhile if a simple tool of inserting the staff in the byzantinemusic package can be implemented in order to have a fully powerful tool at our disposal for studying Greek music from ancient times. We would be grateful to anyone who could volunteer to help our efforts.

## 11 Acknowledgments

If we did not have the BZ-fonts of Fr. Ephraim of Arizona ([https://www.stanthonysmonastery.org/musical/BzymusicalFonts.html](https://www.stanthonysmonastery.org/musical/BzymusicalFonts.html)) and Mr. Souldatos (BYZANTINA 1.1) then we could not have designed our package because we could not have created from scratch all the musical symbols. I thank them warmly. I would also like to thank the Assistant Professor Tsolomitis Antonios of our Mathematics Department for his valuable help on the uploading of the package contents at TUG and other issues related to fonts, and Mr. Vamvaka, John and Mr. Kotopouli, Panagiotis for creating BYZLATEX the first BM package in LaTeX ([https://www.tug.org/TU6boat/tb26-3/tb84vamvakas.pdf](https://www.tug.org/TU6boat/tb26-3/tb84vamvakas.pdf)). I couldn't go without mentioning the Samian Professor of BM Mr. Angelinaras, George who made us the manuscript available (it is the second example below). There is a Ph.D candidate at the Department of Inf. and Comm. Systems Engineering of the University of the Aegean, Greece, I must thank deeply Zessis Tsiatsikas for his invaluable assistance, with his Java program "BMeditor"(for details, please refer to the README file of this program). Needless to say, I must also thank my family for the patience that they showed me at the endless hours of package design. In closing with my expressions of gratitude, I would like to dedicate this body of work to the memory of my mother Sophia.

Two musical examples

We will give two simple examples using several commands from our package. The first example is the "Lord Have mercy " for 5 voices by Emmanuel Vamvoudaki. This is a translation and adaptation of Vamvoudakis from the original Russian song and it is in the book "New Anthology" by Emmanuel Vamvoudaki - Samos 1921. We used the command \**Longstack[r]** to create the command \**pyrgos** for the construction of floors. This command is not in the byzantinemusic package, but in the preamble of byzantinemusic-en.tex. Each floor usually gets a single note and its syllables. We did this so that each tower is not very wide and consequently our musical text can be sufficiently well aligned in T\EX without going beyond the right margin. We used the command \agkylh[6.5] {\{} to insert the large brace at the beginning of the musical text. Also for the construction of the small hyphens, we used the command \agkylh* (eg \agkylh*[0.5] {}), although we could also use the commands \**yfa**, \**yfk** (see list of symbols) that are made from BZ-fonts without using any mathematical commands. Certainly \agkylh* is the recommended command in the case of a very large hyphen because it gives a uniform thickness throughout the length of the hyphen (regardless of its size and the font used). The musical measure \(\frac{4}{4}\) is written using the "mathematical " command \frac that has the capacity to make fractions: $ \frac{4}{4}$. We zoomed this fraction a bit with the command \thickness[!][1]. If we wanted to, we could make a different construction of the tower that would gives us the ability to put many musical notes at the same level of the stack. This command is called \**pyrgosh**. In this way, the notes of each voice is more condensed but we must be careful of how many notes insert at each level of the stack, because otherwise there is a chance of stretching beyond the margin! Below, we wrote only the first measure of the hymn using this tower to show the difference.

The second example is an old traditional and well-known song from the Lydia Province of the unforgettable Greek Asia Minor. It uses the changespaceskip environment with zero width between the musical words throughout its extent ie. it starts with 

\end{table}
Table 1: The \(\frac{Moreover, we used \changetextscale[1.5] command to increase letters' size by a percentage and soon came back to our original settings, once we had finished the construction of the song's title, using the command \changetextscale[1] (or simply \changetextscale[]). We easily centered the title with the command \**kentro**. The remaining verses after the track are placed using the environment \**begin {verse }... \end {verse } of LaTeX.

The following is a different construction of the tower using the command \(\backslash\)**pyrgosh** (each level contains more than one notes).



- Katona ata Baudia vega!

Kavu to xopui uou bakoca,

ta xepakua uou kontia,

to uavutia uou kontia,

utavuou bakova,

Eto 'taa xai otob gavaiew

uai uou yoquantaa 8ev 8guo

xai ue tutavou kontia.

## 13 List of musical commands

The following list contains most of the symbols built. Matches of the commands with their corresponding musical symbols are obvious. So, for example, the command iso stands for \(\iota\omega\), the oxe for \(\omega\xi\iota\alpha\), the oli for \(\alpha\lambda\gamma\omega\), the pet for \(\pi\iota\iota\alpha\alpha\gamma\), k for \(\pi\iota\omega\iota\alpha\), the xk is k right bellow \(\iota\omega\), the yps (or ypsD) for \(\omega\eta\lambda\gamma\) which is positioned to the right(D) of \(\iota\omega\iota\omega\), the yps (or better ypsA) for \(\omega\eta\lambda\gamma\) to the left(A) of \(\iota\omega\), the kk for \(\pi\iota\omega\iota\alpha\alpha\), the g for the \(\gamma\iota\omega\gamma\omega\), the gg for \(\delta\iota\gamma\omega\gamma\omega\), ggg for \(\gamma\iota\iota\gamma\omega\gamma\omega\) etc., The t for \(\alpha\pi\lambda\gamma\)(aple), tt for double \(\alpha\pi\lambda\gamma\)(diple), ttt for \(\gamma\iota\pi\lambda\gamma\)(triple), p for dotted g, gg, ggg etc. The synela for \(\omega\omega\gamma\xi\xi\)\(\varepsilon\lambda\alpha\omega\rho\omega\), the apo for the \(\alpha\pi\iota\omega\sigma\iota\omega\rho\omega\)(apostrophe), the xapo for apostrophe below oli, the ela for \(\varepsilon\lambda\alpha\omega\rho\omega\), the ypo for \(\omega\pi\iota\omega\rho\omega\) and xam for \(\chi\alpha\omega\gamma\lambda\gamma\). In some complex musicaled ascending combinations we also used the word anw (=upwars) and for some descending combinations the word kat (= downwards) plus a Latin number (eg. Xanw = ascent 10 voices) to facilitate typing them. The p sometimes comes from the left of g as pg and sometimes from the right as gp. To align the syllables to the right of \(\omega\omega\xi\xi\)\(\varepsilon\lambda\alpha\varphi\omega\) we had to create the command \(\backslash\)syn with exactly the same syntax as the command th.









### Rest symbols

For the rests we use \(\beta\alpha\beta\alpha(\text{bar})\) with an \(\alpha\pi\lambda\dot{\gamma}(\text{t})\) to its right. The \(\setminus\)bart combination is also defined as pay(from the Greek word \(\pi\alpha\dot{\omega}\omega\varsigma\)).

\begin{tabular}{l l|l l} \hline Command & Result & Command & Result \\ \hline \(\setminus\)bart and & \(\setminus\)bartt & \(\setminus\)bartt & \\ \hline \(\setminus\)bartt & \(\setminus\)bartttt & \\ \hline \end{tabular}






### Small ison and musical hyphen

To \(\iota\phi\alpha\omega\)(smallon iso) is an auxilary symbol and has two forms: the normal \isa and lowered \isk. If the isaki has an additional positioning indicator (D or A) at its end then it should be located to the right of the musical character to which it is going to be placed (if there is no such sign then we can put isaki on any side). The hyphen and other patterns of variable length may be made by the \agkylh command without the use of any font. They could also be made directly from some symbols of our BZ-fonts, if desired, changing their length and position with appropriate commands. The commands \yfma and \yfmk (small hyphens) always have a fixed width while \yfka and \yfka have a variable width and position. All these hyphens are placed between the hyphened



### Signs that divide the duration

p denotes a dot and is used with g (gorgon), gg and other symbols. The gorgon requires special displacement using \bm or other command, in some difficult cases.

\begin{tabular}{l c|c c} \hline Command & Example & Command & Example \\ \hline \end{tabular}



### 13.8 The argon, diargon and triargon

\begin{tabular}{l c|l c} \hline Command & Example & Command & Example \\ \hline \(\backslash\)arg & & \(\backslash\)diaD & \\ \hline \(\backslash\)trig & & \(\backslash\)dia & \\ \hline \(\backslash\)parg & & \(\backslash\)argp & \\ \hline \(\backslash\)diap & & \(\backslash\)pdia & \\ \hline \end{tabular}



### 13.11 **Sharps and flats**

Sharps(\d) and flats(\y) are stressed by using the l (one stroke). Additional strokes can be added to give the note a deeper quality of either being sharper or flatter. They are colored red to better distinguish them.

#### 13.12 Martyries and note signs

All martyries and note signs are colored red. All martyries ending in P (= above) are placed naturally first in the left argument of \marts command,while those ending in K (= bottom) always come to the right argument. The letter b denotes a martryria of soft chromatic genus and the letter plab of hard chromatic genus. The mark dia is used for diatonic matyries and ton when we must incert an accent on a letter. All complex martyries are made by the use of the command \marks.

_Example:_

\marts[\pa][\paplab] \=\marts[\nhdia][\gak] \=\marts[\di][\rbox[-0.8]{\gvb}] \=\

In the following list the comand of interest has been enclosed in parenthesis to distinguish it from the example to its right.

\begin{tabular}{l c|l c} \hline Command & Example & Command & Example \\ \hline \(\backslash\)pa & ( ) \(\backslash\)b & \(\backslash\)boy & \\ \hline \(\backslash\)ga & & & \(\Delta\) \\ \hline \(\backslash\)ke & & \(\backslash\)zw & \\ \hline \(\backslash\)boyton & & \(\pi\alpha\) with accent \(\backslash\)gaton & \(\pi^{\prime}\) \\ \hline \end{tabular}



### 13.13 Some useful combinations of martyries

In the following combinations there are some cases where a sign of a note is missing for readability reasons only. For example, \nhdiam is the shortcut for \nhnhdiam. It is also worth noting that each of these combination ends with the letter m for better readability in a complex and long musical text.

\begin{tabular}{l l|l l} \hline Command & Example & Command & Example \\ \hline \nhdiam & \(\alpha\) & \(\gamma\) & \(\gamma\) \\ \hline \nhdiam & \(\alpha\) & \(\gamma\) & \(\gamma\) \\ \hline \nhdiam & \(\alpha\) & \(\gamma\) & \(\gamma\) \\ \hline \nhdiam & \(\alpha\) & \(\gamma\) & \(\gamma\) \\ \hline \nhdiam & \(\alpha\) & \(\gamma\) & \(\gamma\) \\ \hline \end{tabular}









#### 13.17 Fthores(destroyers) and chroes(chromatic signs)

All marryries and chroes end with the letter f to distinguish them from the other symbols. Their default color is red. Most of the fthores names


### 13.18 Polytonic texts

In the list below we used the impressive "medieval" font Junicode ([https://www.ctan.org/tex-archive/fonts/junicode](https://www.ctan.org/tex-archive/fonts/junicode)), which contains many letters of the Ancient Greek language. Alternatively, we can use Arial or any other font that suits us. If a? appears instead of a letter this means that this corresponding character is not available. We have used the command \changetextfont[Junicode] to change the font of the text. If the command \tilde\textfont vildeON is inserted somewhere at the beginning of our text (before we start writing polytonic) then it is necessary - to be used solely as a binding of the syllable containing the polytonic command with the next syllable (in the same word). In other words, the - becomes the braces \ shortcut. We emphasize this mandatory use of - in some examples in the list below. For additional examples and instructions regarding the package greektonoi one should read the package documentation. The letter \(\varepsilon\) in front of some letters provides an alternative version of them. E.g. \(\backslash\varepsilon\theta\Rightarrow\mathfrak{I}\). We need to know that in polytonic text writing some letters have one form at the beginning of a word (e.g. the letter \(\beta\)) and another form when they are used somewhere in the middle (e.g. \(\xi\)). The leaf after the end of the table is not an image but a letter of the Junicode font!


\begin{tabular}{l c|l c}  & & digamma & \\ \(\backslash\)g\(\varepsilon\)- & & \(\backslash\)g\(\gamma\) & \(F\) \\ \hline capital koppa & & small coppa & \\ \(\backslash\)K\(\sigma\) & & \(\backslash\)\(\omega\sigma\) & \\ \hline capital sampi & & small sampi & \\ \(\backslash\)\(\sum\) & \(\gamma\) & \(\backslash\)\(\sigma\)\(\omega\) & \\ \hline \end{tabular}