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\documentclass[letterpaper, 12pt]{article}
\usepackage[no-math]{fontspec}
\usepackage{polyglossia}
\usepackage{booktabs}
\usepackage{tabularx}
\usepackage{ltablex} 
\usepackage{longtable} 
\usepackage{lineno}
%\linenumbers
\usepackage{lettrine} 
\setmainlanguage{english}
\setmainfont{GFS Didot}
\setotherlanguage[variant=polytonic]{greek}
\newfontfamily\greekfont[Script=Greek]{GFS Didot}
\newfontfamily\greekfontsf[Script=Greek]{GFS Didot}
\usepackage[pdfstartview=FitV,bookmarks=false]{hyperref}
\usepackage{url}
\usepackage{greektonoi}
\usepackage{byzantinemusic}
\usepackage{metalogo}
\usepackage{adjustbox}
\newcommand*{\cellpar}[1]{\parbox[b]{0.30\textwidth}{#1\raggedright}}
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\def\oIV#1{\rbox*[6]{#1}}
\def\oIII#1{\rbox*[4.4]{#1}}
\def\oII#1{\rbox*[3.]{#1}}
\def\oI#1{\rbox*[1.8]{#1}}
\def\oIVh#1{\rbox*[6.8]{#1}}
\def\oIIIh#1{\rbox*[5.2]{#1}}
\def\oIIh#1{\rbox*[3.5]{#1}}
\NewDocumentCommand{\pyrgos}{O{}O{}O{}O{}O{}O{}O{}O{}O{}}{\Longstack[c]{%
\IfNoValueTF{#1}{}{\oIV{\th{#1}[#2]}}
{\IfNoValueTF{#3}{}{\oIII{\th{#3}[#4]}}}
{\IfNoValueTF{#5}{}{\oII{#5}}}
{\IfNoValueTF{#6}{}{\oI{\th{#6}[#7]}}}
\IfNoValueTF{#8}{}{\th{#8}[#9]}}%
}
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\newcommand\Ru{%
\rule[.5cm]{0cm}{1.2cm}}
\def\tildde{{\char"007E}}
\definecolor{myRed}{rgb}{0.5,0,0}
%
\title{Documentation for the {\sf byzantinemusic.sty} package.}
\author{Charalampos Milt. Cornaros\thanks{\textcopyright 2016 Cornaros. Questions, commentary and bug reports to \texttt{kornaros@aegean.gr} please.}}
\date{2016/04/15}
\begin{document}\begin{byzantinemusic}
	\maketitle\vspace{-3em}\changetextslant[-0.2]
\hspace{0.5em}\adjustbox{minipage=11cm,angle=10}{%
\th{\bartt}[]\th{\ggapo}[Στο] \th{\oli}[πα] \th{\iso}[και] \th{\iso}[στο] \th{\apo}[ξα] \th{\pggolikk}[α] \th{\apo}[α] \th{\gapo}[να]%
%
  \barth{\oli}[λε] \th{\gggypo}[ε] \th{\apo}[ε] \th{\oli}[ω]\th{\gadiam}[] \th{\olixkpsh}[\p στο] \th{\pgapo}[\p για] \barth{\iso}[λο] \th{\ggiso}[ο] \th{\apo}[μην] 
  \barth{\apo}[\p κα] \th{\ggapo}[\p α]\th{\kk}[\p α]}%
  \changetextslant[]
\begin{abstract}


The  \textsf{byzantinemusic} package  gives us the ability to directly type Byzantine Ecclesiastical musical and traditional Panhellenic and Eastern folk music using the  \XeLaTeX{} machine and  \texttt {BZ-fonts} font family.

\end{abstract}

\tableofcontents
\begin{english}
 \section{Introduction} Byzantine music(BM) is the official music of the Greek Orthodox Church for its liturgical needs and as such is used for recording traditional music in Greece and Cyprus. The problem arises when typing a musical text of BM. Although wonderful fonts are already available, there is no free nor simple tool which can be used to type its symbols appropriately.  The reason is simple. There are thousands of musical symbol combinations and therefore it is almost impossible to  place them properly, in relation to each other, all the symbols of any combination, in the right order, distance or size. The \LaTeX{} engine with the command \textsf{\tb put} enables us to place our symbols with absolute accuracy at any point on the page without the need for further automations. This command, with the cooperation of the impressive package \textsf{\tb stackengine} recently written by Mr. Steven B. Segletes (see \url{ftp.dante.de/tex-archive/macros/latex/contrib/stackengine/stackengine .pdf}), for easy vertical placement of objects, has enabled us to realize our dream i.e. to make a handy package for typing  BM using the \XeLaTeX{} engine.
 
   With this package, every musical symbol or combination of musical symbols is a simple and  memorable command (automation).  After one gives a straightforward name to each basic musical symbol then one could start the construction of complex combinations using some elementary  commands and allowing  more complex names for the new structures as in chemistry with  regard to atoms and molecules. For example, the symbol of ίσον(isson) (\rbox[-0.8]{\iso}) has the name \textsf{\tb iso}. The γοργόν(gorgon) is an auxiliary musical symbol (\rbox[-0.9]{\bm[\g, 0.5] \p}) with the name \textsf{\tb g}. Using the letters g and iso, we constructed the command \textsf{\tb giso} (\rbox[-0.8]{\giso}) where the ίσον is  below the γοργόν. Of course,  it is  possible  to forget some useful combinations of  musical symbols, yet we believe that with each new version,   the  package will  be increasingly  perfected. 

\begin{changetolerance}[][2em]  It is my opinion, that we could not have completed the construction of our package without the existence of the beautiful font family  \textsf{BYZANTINA 1.1} (\url{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!\end{changetolerance}
 
\section{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 \tb iso  of the BZ-fonts family, exactly as designed by the manufacturer of \textsf{BZ-fonts}. The M, for example, means that its position is just below the ίσον. The K sign  is in line with the   M but in a lower position.  The D stands for the right side of the ίσον  and the A for the left. The P indicates that it is located  far above the  center of  the ίσον,  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. 

  \subsubsection*{Example} \noindent
Within the font \textsf{BZByzantina.otf} there are many forms of the auxiliary symbol \textsf{\tb g}. The positions relative  to the \textsf{\tb iso} are: \tb gPA $ \Rightarrow $ \iso \gPA, \tb gPD $ \Rightarrow $ \iso \gPD, \tb gMD $ \Rightarrow $ \iso \gMD , \tb gDD $ \Rightarrow $ \iso \gDD, \tb gM $ \Rightarrow $ \iso \gM, \tb gKD $ \Rightarrow $ \iso \gKD, \tb gK $ \Rightarrow $ \iso \gK, \tb gD $ \Rightarrow $ \iso \gD, \tb gMD $ \Rightarrow $ \iso \gMD and \tb g $ \Rightarrow $ \iso \g. \\[1ex]

The auxiliary symbols ending in D e.g. KD, PD  are commonly used in the combination of medium width BM symbols, such as \textsf{\tb apo} (apostrophe), whereas auxiliary symbols ending in DD are used with short main symbols, such as \textsf{\tb ypo} (ypporoe). Perhaps, it is  not necessary to be familiar with all these signs. When we make a complex combination from simpler symbols,  the new name will  rarely have all these additional indicators(with a few exceptions). Each musical combination is read out and typed down from \textit{left to right and top to bottom}. With this simple mnemonic rule all (composite) names of the new combinations  actually have a very simple construction.
 \subsubsection*{Example} \noindent
%
Instead of writing \textsf{\tb isogM} we have to write  \textsf{\tb isog} to get \isog. If we change the order of g and iso we will take the \textsf{\tb giso} \giso.
 \\[1ex]
 

\begin{changetolerance}[][2em]

We have built many such new commands to combine simple symbols. If we have forgotten a combination, then we can define it with a single name in the preface (preamble) of  our  \TeX{} file using the command \textbf{\tb newcommand} of \LaTeX{} and  some  commands like those described below. By the way, we should mention for those who do not know the  \LaTeX{} programming language, that  \LaTeX{} is completely different from ordinary editors. Rather than pressing buttons e.g. to change the  font of the text, we use a specific command to achieve this. Commands are much better than buttons! \LaTeX{} does not attempt to alter the colors, position or function of any of the commands given. 
They give us complete control over our work and can be combined  for incredible automation and typographic perfection! To make possible the easier handling of our  \tb byzantinemusic package for  anyone who might decide to use it, without having sufficient knowledge of  \XeLaTeX{}, we  constructed additional  useful  commands described below. All  these commands are taking some arguments in square brackets [ and ] or braces \{\}. Each command has some simple syntax rules that we must respect. If the argument is mandatory  then it must be put in braces, otherwise in brackets [ ].  E.g. we will describe the basic  command  of BM that takes a syllable along with the corresponding musical notes, that are exactly  above it. This is the \textbf{\tb th}. It contains only two arguments and has the syntax \tb th\{musical symbols\}[syllable]. We used \{ and \} to enclose the musical symbols and the  [  ] brackets for the syllable. We constructed it in this way, because  a musical note may exist in a staff without a syllable, but the opposite does not occur. There is no  syllable without  a note (or multiple notes)  above it! Therefore, we chose the \{ \} pair for the mandatory arguments and the brackets for the optional! This structural rule applies to all commands we built! Generally some  knowledge of \LaTeX{} language is needed  before trying to write BM in order to avoid any disappointment!
 
 %
As already mentioned, the basic musical symbols placement command of BM  is \textsf{\tb th\{ \}[]}.  th is derived from the letter Θ of the greek word Θέσε i.e. put, insert characters in the current line. Within the brackets [] we usually insert the syllables of the text that follow the musical line above it. We can leave it empty though, because it is not necessary. Within the pair of \{\} we place what we usually put over the syllables like notes and isokratema above notes. 

With the help of \tb th we also produced auxiliary commands \tb barth,  \tb lbarth, \tb Lbarth,  \tb LIIbarth, \tb LIIIbarth, \tb LIVbarth, \tb LVbarth, \tb LVIbarth, \tb LVIIbarth, \tb LVIIIbarth, \tb lth, \tb Lth , \tb LIIth, \tb LIIIth , \tb LIVth, \tb LVth, \tb LVIth, \tb LVIIth. \tb LVIIIth, \tb LLth, \tb llth, \tb Lyfeth, \tb lyfeth, \tb synl, \tb synlyfe and \tb syn (the last three for the construction of the συνεχές ελαφρόν musical symbols).\end{changetolerance}
\subsubsection*{Example:} \noindent With \tb th\{\tb iso\}[\tb ne ε] we achieve \th{\iso}[\ne ε]. (Using the command  \textsf{\tb ne} we achieve  \ne.) Similarly, using the other commands we get respectively:  \barth{\iso}[\ne ε],   \lbarth{\iso}[\ne ε], \Lbarth{\iso}[\ne ε],    \LIIbarth{\iso}[\ne ε], \LIIIbarth{\iso}[\ne ε], \LIVbarth{\iso}[\ne ε], \LVbarth{\iso}[\ne ε], \LVIbarth{\iso}[\ne ε], \LVIIbarth{\iso}[\ne ε], \LVIIIbarth{\iso}[\ne ε], \lth{\iso}[\ne ε], \Lth{\iso}[\ne ε], \LIIth{\iso}[\ne ε], \LIIIth{\iso}[\ne ε], \LIVth{\iso}[\ne ε], \LVth{\iso}[\ne ε], \LVIth{\iso}[\ne ε], \LVIIth{\iso}[\ne ε], \LVIIIth{\iso}[\ne ε], \LLth{\iso}[\ne ε],  \llth{\iso}[\ne ε] , \Lyfeth{\iso}[\ne ε],  \lyfeth{\iso}[\ne ε], \synl{\ela}[\ne ε], \synlyfe{\ela}[\ne ε], and  \syn{\ela}[\ne ε]. \\(The last result is  typed as \tb syn\{\tb ela\}[\tb ne ε] )
\\[0.5em]
The  \textbf{\tb 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 \kentro{\tb 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 ίσον(\tb iso) symbol of BM. The zero value (0) in any given  direction does not move the  object  in that direction. \\[0.2em]

\subsubsection*{Example:} \noindent The petaste \tb pet(\rbox[-0.7]{\pet})  from the left of \tb ypsypskypsoli(\rbox[-0.7]{\ypsypskypsoli})\\ $\Rightarrow$ \pet\ypsypskypsoli and below\\ \tb bm[\tb pet,0.12,-0.28] \tb ypsypskypsoli $\Rightarrow$ \bm[\pet,0.12,-0.28]\ypsypskypsoli  

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  \tb ypsypskypsoli as we would do by hand if we wanted to place the petaste under  it. 

\noindent Another example: the \gapot\dMD\eteKDD \keno[0.5] is not correctly placed because the  δίεση (=sharp) \tb dMD (\bm[\dMD,0.4,-0.1]\keno[0.2]) is overlaying the έτερον \tb eteKDD (\bm[\eteKDD,0.4,-0.2]\keno[0.8]). The combination is written more correctly with proper movement of the δίεση upwards and to the left of  its normal position.  \\


\noindent \tb gapot\tb bm[\tb dMD,-0.05,0.1]\tb eteKDD $\Rightarrow$ \gapot\bm[\dMD,-0.05,0.1]\eteKDD
\section{Stacking objects} The  \tb 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 \textsf{stackengine} 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(ισοκράτημα) over notes we  use the command \textbf{\tb s}. The name s is derived from the first letter of the  \tb stackengine command to remind us of the use of this command in the construction of \tb s.
The \textbf{\tb marts} command is similar to \tb s but is used in the construction of martyries(μαρτυρίες) and finally, the \textbf{\tb 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 \tb arsi (\arsh),  \tb thesi (\thesh) and \tb makra (\makra), we use the command \textbf{\tb stackon} of  the \textsf{stackengine} package. The \tb stackon command  is a simplification of the command \tb stackengine.  In \tb 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 \tb s, \tb marts, and \tb xrs is the same. There are only two optional arguments.
 
\subsubsection*{Example:}
 \noindent \tb s[(Κ)][\tb iso]
$\Rightarrow$ 
  \s[(Κ)][\iso]\\
  \tb marts[\tb padiaa][\tb dik] $\Rightarrow$ \marts[\padiaa][\dik]\\ \tb xrs[\tb bbbmchi][\tb dibm] $\Rightarrow$ \xrs[\bbbmchi][\dibm]\\ \tb stackon[0.2em]\{\tb arsh\}\{\tb red\tb makra\tb makra\tb makra\} $\Rightarrow$ 
\stackon[0.2em]{\arsh}{\red\makra\makra\makra}.  The \tb red command  is used when we want to color  an object red. Regarding the colors, we will give more details below. 
  \subsection{Building brackets and positioning them}
We can properly use the \textbf{\tb bsline} to put braces, brackets,  parentheses etc. of variable heights and width directly on the baseline. \textit{Brackets} of variable height are easily constructed with the help of the command \textbf{\tb agkylh}.  Let us note the difference: \\[0.1ex]
  
\noindent  \tb agkylh[1]\{\R{\tb\{}\} $\Rightarrow$ \agkylh[1]{\{} and \tb bsline\{\tb agkylh[1]\{\R{\tb\{}\}\}   $\Rightarrow$ \bsline{\agkylh[1]{\{}}.  

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 \tb{} and type \tb \{ or \tb \}. For this reason we used the symbol \tb \{ inside the command \tb agkylh[...]\{ ... \}. Moreover, instead of \tb \{ we can alternatively  insert some other commands (constructing mathematical figures) or other simple bracket-like shapes like parentheses  (, ), $\Vert$(=\tb Vert), $\rangle$(=\tb rangle), $\langle$(=\tb langle), \tb \}, \tb | (but excluding the brackets ] and [ ). The \tb bsline\{object\} is the abbreviation of the  \tb stackon[0ex]\{ \}\{object\} command. The main disadvantage of \tb 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 \tb agkylh. \\[0.1ex]

 %\noindent Example: \noindent  \tb agkylh[1]\{\tb \{\} $\Rightarrow$ \agkylh[1]{\{} and \tb bsline\{\tb agkylh[1]\{\tb \{\}\}   $\Rightarrow$ \bsline{\agkylh[1]{\{}}.  
 %\\[0.1ex]
 
 The 1 inside the \tb agkylh command sets the amount of the height of the  left parenthesis \{ (as a percentage of the total height of the musical character \tb iso, ie. 1 = 100 \% of the height of \tb iso) and can be changed to any integer or decimal value we like. \\[0.1ex] Instead of \tb agkylh command there are also \textbf{\tb leftbracket[number]} and \textbf{\tb rightbracket[number]} commands  to take  the [ and ] with a variable in height.

 \noindent Example: \tb rightbracket[1] $\Rightarrow$ \rightbracket[1] \\[0.1ex]
 
 There are also  starred versions eg. \tb agkylh*[number] \{figure\} and \tb leftbracket*[number] to position our brackets \textit{horizontally}.
 
If we want to simultaneously change  the thickness  and height of our braces we make the  \textbf{\tb thickshape} command available with the syntax \kentro{\tb 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 \tb thickshape is much more general than \tb agkylh, because the latter can not accept any brace-like shape or other shape  as its  argument, other than those already mentioned,  while the \tb thickshape command accepts everything! Of course, we could  integrate into the command \tb thickshape any other command like the  \tb bsline, so the final result will be  set on the (base)line. 

\subsubsection*{Example:}\tb thickshape[!][2]\{[\} $\Rightarrow$ \thickshape[!][2]{[} and \tb thickshape*[10pt][1]\{)\} $\Rightarrow$ \thickshape*[10pt][1]{)} and \\\tb thickshape[10pt][1.5]\{\tb bsline\{(\}\} $\Rightarrow$ \thickshape[10pt][1.5]{\bsline{(}} and
 \tb thickshape[!][1]\{A\} $\Rightarrow$ \thickshape[!][1]{A}
 \subsection{Construction of initial martyries}
  Martyries(μαρτυρίες) show the starting note of the melody from which we begin to chant. They are not 
interval signs, so they are not chanted. Martyries are divided into three groups: diatonics, chromatics and 
enharmónics. We can use the  \tb stackengine command to achieve our own beautiful combinations of  initial martyries using any text font. \\[1.5ex] Eg. we could place the \rbox[-0.3]{\bm[\nhdiafM, 0.6,0] \keno[0.22]}(=\tb nhdiafM) over Νη 
with the command \kentro{\tb bm[\tb nhdiafMD,0.4,0.1]\tb mbox\{Νη\}}
or with the command
 \kentro{\tb stackengine\{0.5ex\}\{Νη\}\{\tb  nhdiafMD\}\{O\}\{r\}
\{F\}\{\tb useanchorwidth\}\{L\}} to obtain \stackengine{0.5ex}{Νη}{\nhdiafMD}{O}{r}{F}{\useanchorwidth}{L}. Also with  \kentro{\tb stackengine\{1.2ex\}\{π\}\{λ\}\{O\}\{c\}%
\{F\}\{\tb useanchorwidth\}\{L\}}  we get
\stackengine{1.2ex}{π}{λ}{O}{c}{F}{\useanchorwidth}{L} ( the 1.2ex above determines the vertical distance between the letters π and λ. We  may reduce or increase the 1.2 value depending on the desired  distance). The last example can also be written in a simpler fashion by means of using as an alternative the \tb bm command or  the \tb stackon command  as follows: \\ 
\tb stackon[0.2ex]\{π\}\{λ\} $\Rightarrow$ \stackon[0.2ex]{π}{λ}

We could also  construct various other commands such as the above to build new initial martyries using any font. Our opinion is  to  use exclusively the BZByzantine.otf   font, as well as,  the rest of the fonts of the BZ-fonts  package, so our musical text has a robust and consistent appearence throughout its length. Please note that most of the complex initial martyries have already been built by us with the help of commands described (see table at the end of the documentation), so there is no need to build a new initial martyria.

\subsection{An example of the construction of a tower.} 
The \textsf{\tb stackengine}package  gives us, in addition to the basic \tb stackengine command and auxiliary command \tb stackon, many other auxiliary commands, even for the building of an entire \((tower\)) of stacked objects. Without the willingness  to expand on the details of this package, we will simply give  a vague idea as to how we could write a musical text with multiple musical parallel lines (eg. when we want to build Russian or other Eastern Church polyphonic music or we could use two lines,  the above  line is with the pre-reformation of 1814 AD writing  style while on  the other line  its the reformed style after 1814 AD). We will use the  \textbf{\tb Longstack} command of the above package to construct the tower. Its general form is \kentro{\tb Longstack[r or c or l] \{beginning on the top  floor, followed by each consecutive floor thereafter, which are shown as  enclosed in separate pairs of  \{\}, until finally reaching the \((ground \)) floor, which is not in  braces \}.} The \textbf{r, c, l} denote right, central and left aligned  stack. \\[1.5ex] With the help of \tb rbox* (see details below) we can have absolute control of the intermediate distance between floors of the tower.\\\vspace{1em}
Eg. using \kentro{\tb Longstack[r]\{ \tb rbox*[4.3]\{Ὑψίφωνος\} 
\{\tb rbox*[4]\{μονῳδὸς\}\} \{\tb rbox*[3] \{Ὑψίφωνος \}\} \{\tb rbox*[2]\{Μεσόφωνος\}\} \{\tb rbox*[1]\{Ὀξύφωνος\}\} Βαρύφωνος\}} we take:\\\vspace{1em}

\Longstack[r]{ \rbox*[4.3]{Ὑψίφωνος} 
{\rbox*[4]{μον\μω{}δ\βος{}}} {\rbox*[3]{Ὑψίφωνος}} {\rbox*[2]{Μεσόφωνος}} {\rbox*[1]{Ὀξύφωνος}} Βαρύφωνος}\\[2ex] We met the above example in the  Εκλογή αρμονικών μαθημάτων of the book \((New Anthology\)) of Emm. Vamvoudaki.

 

\section{Variable distances between  characters} There are several ways to distance or  bring closer \textbf{horizontally} two characters. We constructed three commands for this purpose. The first  \textbf{\tb p}  separates two characters into a constant distance as the width of the Latin letter i. The second command, \textbf{\tb keno}(from κενό =space) could be used to join  or to separate two characters at any distance.  Finally, the \textbf{\tb met} (from the initials of the greek word μετακινώ  = move) 
has a  similar syntax with \tb keno. The \tb met moves the character or object that is on its right  in a positive or negative percentage. Each of these commands has its own advantage and disadvantage. The \tb p is essentially the i, but invisible, so we have the impression of  there being an empty space between the two characters. The \tb p does not get any argument so if a wider gap is desired  then we must repeat the command \tb p \tb p ... several times. In practice, we usually use the \tb keno to control the exact space between  two musical syllables, except in  some rare cases (in which a visual problem arises in the final result). In this situation we have the choice of \tb p or \tb met commands or perhaps one of the dozens of the \TeX ). The \tb keno uses the command \tb hspace internally,  which is a command for making horizontal gaps. The \tb met uses the command \tb kern for the left or right shift  of the character after the \tb met. The \tb met and \tb keno may cause problems when using large negative values ​​because they could move all the characters on their right hand side to the left )


\subsubsection*{Example:} \noindent%
  \tb th\{\tb apo\}[ον]\tb keno\tb th\{\tb  kediam\} $\Rightarrow$ \th{\apo}[ον]\keno\th{\kediam}\\
   \tb th\{\tb apo\}[ον]\tb keno[0.5]\tb th\{\tb  kediam\} $\Rightarrow$ \th{\apo}[ον]\keno[0.5]\th{\kediam}\\
      \tb th\{\tb apo\}[ον]\tb th\{\tb  kediam\} $\Rightarrow$ \th{\apo}[ον]\th{\kediam}(the \tb th  commands without \tb keno and without intermediate space )\\
       \tb th\{\tb apo\}[ον] \tb th\{\tb  kediam\} $\Rightarrow$ \th{\apo}[ον] \th{\kediam}(the \tb th  commands without \tb keno  and with an intermediate space)\\ 
         \tb th\{\tb apo\}[ον]\tb keno[-0.1]\tb th\{\tb  kediam\} $\Rightarrow$ \th{\apo}[ον]\keno[-0.1]\th{\kediam} (negative \tb keno)\\
 \tb th\{\tb apo\}[ον]\tb p\tb p\tb p\tb th\{\tb  kediam\} $\Rightarrow$ \th{\apo}[ον]\p\p\p\th{\kediam} (tree \tb p in line)\\
\tb iso\tb met\tb iso $\Rightarrow$ \iso\met\iso (a small displacement )
\\
\tb iso\tb met[0.5]\tb iso $\Rightarrow$ \iso\met[0.5]\iso (a bigger one)\\
\\
\tb iso\tb met[-1.5]\tb iso\tb apo $\Rightarrow$ \iso\met[-1.5]{\red \iso}\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 \tb bm  the problem can be solved. \\\\
\tb iso\tb bm[\tb iso, -1.5]\tb apo 
$\Rightarrow$
\iso\bm[{\red \iso}, -1.5]\apo The \tb bm command always moves  its objects without affecting the other objects around it!\subsubsection*{Example:} \noindent\\\noindent
\bm[\padiafD,0,-1](=\tb padiafD) is positioned on \bm[\kekediam,0,-0.3]\keno\keno(=\tb kekediam) without affecting \tb iso:\\  \tb iso\tb bm[\tb padiafD,0.3]\tb kekediam\tb iso $\Rightarrow$\iso\bm[\padiafD,0.3]\kekediam\iso
  \\[0.1em] 

For an exact \textbf{vertical} movement of our musical characters or  combination of characters, as well as any kind of objects, we also created the command \textbf{\tb rbox} with the following syntax \kentro{\tb rbox[+ or - number] \{character (to be moved) \}. } This is derived from the initial letters r and box of the \LaTeX{} command \textbf{\tb raisebox} (with the help of which the \tb rbox command is defined). It can be combined with any other commands such as the \tb s command.
 \subsubsection*{Example:} \noindent
\tb s[\tb rbox[-0.8]\{(ΝΗ)\}][εαν] $\Rightarrow$ \s[\rbox[-0.8]{(ΝΗ)}][εαν.] And \\
\tb s[(ΝΗ)][oh!] $\Rightarrow$ \s[(ΝΗ)][oh!] (without the \tb rbox the isokratema (ΝΗ) is much higher than the oh! and almost touches the top line!)\\
\tb th\{\tb rbox[0.3]\{\tb iso\}\}[up]$\Rightarrow$\th{\rbox[0.3]{\iso}}[up],  and without \tb rbox: \tb th\{\tb iso\}[up]$\Rightarrow$ \th{\iso}[up].\\ Lowering with a negative value  {\tb rbox[-1.3]\{\tb iso\}$\Rightarrow$\rbox[-1.3]{\iso}} \\[0.6em]  The use of \tb 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 \tb rbox.
The command \textbf{\tb 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 \tb rbox* rather than \tb 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 \tb rbox.
\\[0.1ex]
\section{Invisable vertical lines} To construct the  commands \tb th,  \tb 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 \textbf{\tb rul} has been constructed to be used exclusively with the \tb th command. If we are not satisfied with the total amount of height of \tb th, then it is possible to  change it using the command \textbf{\tb changethheight}, eg. \tb changethheight[1.7]. We have selected 1.9 as the pre-determined  \tb rul  height  but with \tb changethheight  we can give  any value to it. \vspace{1em} \\
With the command \textbf{\tb katheth[number]} we make an invisible vertical line of  variable height, which is determined by the number, eg \\
\noindent \tb katheth[2] $\Rightarrow$ \fbox{\katheth[2]} (in this example we revealed  the \tb katheth[2] just to see the actual height and thus the greater distance we have achieved  between the line in which the \tb katheth is placed and the line above it.)

\section{Basic parameters and the  change commands} There are some additional parameters and commands that determine the final appearance of our musical text. The \textbf{\tb ypsosisokrathmatos} has a default value of  1.3 (\% percentage of  the height of \tb iso symbol) and affects the command \tb s i.e. it sets the height of isokratema over the musical line. The \textbf{\tb ypsosmartyrias} (with a pre-determined value  0.02 \% of the value of \tb iso) is similar to \tb ypsosisokrathmatos but affects the command \tb marts and finally the \textbf{\tb ypsosxronou} (with the pre-determined value 1.02 \% of the \tb iso's height) is used in \tb xrs. The command \textbf{\tb 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  \tb 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.
 \subsubsection*{Example:} \noindent
\tb changemusictextgap[0.87] \tb th\{\tb iso\}[one] $\Rightarrow$ \changemusictextgap[0.87]\th{\iso}[one]  and\\  \tb changemusictextgap[0.27] \tb th\{\tb iso\}[two] $\Rightarrow$ \changemusictextgap[] \th{\iso}[two]

\begin{changetolerance}[][3em] 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 \tb changeypsosisokrathmatos, \tb changeypsosmartyrias and \tb changeypsosxronou respectively. I should have mentioned that there are many other commands with prefix \textbf{\tb change}. \\The \textbf{\tb changetextfont} with this syntax \kentro{\tb changetextfont[font name]} has been  naturally designed to change the text-font and uses internally the the  \textsf{\tb fontspec} package. Currently there is no option to change the  musical font,  because most well-designed musical fonts of  BM are not free. \end{changetolerance}

 \subsubsection*{Example:} \noindent \tb changetextfont[GFS Artemisia] $\Rightarrow$\changetextfont[GFS Artemisia]
I was written using  GFS Artemisia font while \tb changetextfont[GFS Neohellenic] $\Rightarrow$ 
\changetextfont[GFS Neohellenic]
I was written using GFS Neohellenic font!\\[0.3ex] Of course we can return to the original chosen font i.e. our main text font using the  command \tb normalfont or the \tb changetextfont[] command 
 \changetextfont 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  \textsf{\tb fontspec} package could  identify them  when  the  \tb 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, \tb changetextfont[ Arial ] could cause a serious problem!
Our fonts must be of  .ttf or .oft type. 

Another useful and relevant  command is \textbf{\tb changetextscale} that gives us the ability to change  the font size of the text by a percentage as well as \textbf{\tb changetextsize} to change its size. The \textbf{\tb changetextcolor}  changes the text   color from black to  a wide array of choices.
  \subsubsection*{Example:} \noindent \tb changetextscale[1.5] \changetextscale[1.5]$\Rightarrow$  \changetextfont I have grown taller 1.5 times and my color is now \tb changetextcolor[red] \changetextcolor[red] $\Rightarrow$   red!  \tb changetextscale[]\changetextscale.
    \tb changetextsize[10] \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 \tb changetextcolor[] \changetextcolor and \tb changetextsize[]\changetextsize.
     We can define our own "mycolor" color with the command \textbf{\tb definecolor} and colorize any text!

  \subsubsection*{Example:} \definecolor{mycolor}{RGB}{50,150,220} \tb definecolor\{mycolor\}\{RGB\}\{50,150,220\}Then we can use our color to change  the text color: \\{\tb changetextcolor[mycolor] \changetextcolor[mycolor] Do you like this color?} \\[0.7ex]

 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 \tb Rightarrow) and has been designed exclusively  in \TeX. There are hundreds of such symbols as the square root ($ \sqrt{\phantom{22}} $) or \tb Vert command as encountered above. This is the reason that   $ \Rightarrow $  has not changed its size or color in the above example. The  \tb 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 \tb changetextcolor. In order to change the color of a mathematical \TeX{}  shape, we should use the command \textbf{\tb color} with syntax \tb color\{a color \}, while to change the size of it we could use other appropriate commands such as  \tb 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.
  
  \subsubsection*{Example:} \noindent \$\tb color\{red\} \tb Rightarrow\$ to achieve  $\color{red} \Rightarrow$ and \\  \tb thickshape[!][0.5]\{\$\tb color\{red\}\tb Rightarrow \$\} to achieve \thickshape[!][0.5]{$\color{red} \Rightarrow$} and  \\
  \tb color\{red\} \tb thickshape[!][0.5]\{\$\tb Rightarrow \$\} to  achieve \color{red}\thickshape[!][0.5]{$  \Rightarrow$} \color{black} \\ and 
  \{\tb color\{red\} I am colored red!\} to {\color{red} I am colored red!} I am not!
 \section{Text coloring }As can be seen from the above examples, the command \tb color can be used both to color a mathematical field  and  any other text! If we enclose the \tb color inside the braces \{\} then we limit this specific color to  those objects  enclosed by these braces. So in the last example, I'm not! remained black because it is outside the braces.  If there were no braces around the \tb color\{red\} command  then everything after this command would be red!

The command \tb color could take any  ordinary color names such as  black, red, green, blue, cyan, magenta, yellow and so on. We could use thousands of different colors (for details see \url{http://texdoc.net/texmf-dist/doc/latex/xcolor/xcolor.pdf}) Due to the great practical usefulness of the colors we have made two more auxiliary commands using the \tb color. One is the \tb red and the other is \tb R with different syntaxes each. The  \tb R is used mostly to color a character, or at most, a short text of characters e.g.  some characters inside the  \tb th command.

\subsubsection*{Example:} \noindent \{\tb red a very long text \} $\Rightarrow$ for {\red a very large text} whereas \tb R \{\tb oli \} $\Rightarrow $ 
\R{\oli}. We could change the default color (that is red) of the  \tb R command %
with the help of the \textbf{\tb changeRcolor} with the  syntax \tb changeRcolor[name of the new color] \subsubsection*{Example:} \tb changeRcolor[mycolor] and \changeRcolor[mycolor] \tb R \{\tb oli \} \R{\oli}. \changeRcolor \\[1ex] %
Each of the qualitative  and  time musical characters have a pre-defined color. We could change these default colors according to our own preferences. For example, the color of the characters of the gorgon(γοργόν) family is determined by the command \textbf{\tb gcolor}, which has  red as its default value. Red is also given to the following parameters: \kentro{\bfseries \tb trocolor, \tb parcolor, \tb etecolor, \tb argcolor, \tb edocolor, \tb ekscolor, \tb piacolor, \tb ydcolor, \tb lygcolor, \tb metracolor, \tb martcolor, \tb fthcolor, \tb isokrthmacolor} corresponding to tromikon, paraklitiki, eteron, argon, endofono, ekstrepto, piasma, flat and sharps, lygisma, meters, martyries,  fthores and isokratema respectively. The antikenoma, psifiston,  aple, klasma and  tempo signatures have their color parameters \textbf{\tb antcolor, pshcolor, aplhcolor},   \textbf{klacolor} and \textbf{tempocolor} respectively in black, the πα\πυ{}σεις(rests)  have also color parameter  \textbf{\tb paycolor} in black and the color parameters for anapnoi \textbf{\tb anacolor},  stayros \textbf{\tb stayroscolor} and  corona \textbf{\tb korwnacolor } have blue as  their default value. To change these default values ​​we can use their corresponding change commands.

\subsubsection*{Example:} \tb changestayroscolor[mycolor] \changestayroscolor[mycolor] \sta. We could come back to the pre-defined color, if it is desired, simply by  typing the command with an empty argument eg. \tb changestayroscolor[]. \changestayroscolor

 \begin{changetolerance}[2000][2em] 
\section{Some other commands}  Besides the above \tb change commands we could also use \textbf{\tb changemusicscale} to re-scale our musical symbols by a percentage and the \textbf{\tb- changemusicsize} 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 22 pt (points). We are also  concerned  with the   isokratema font. The  \textbf{\tb changeisokrathmasize} command changes the size of the  isokratema font. 
\subsubsection*{Example:} \noindent \tb changemusicscale[0.8] $\Rightarrow$  \changemusicscale[0.8] \th{\iso}[ΙΣΟ!] \changemusicscale[1] and \\ \tb changemusicsize[40]  \tb changeisokrathmasize[30]$\Rightarrow$  \changemusicsize[40] \changeisokrathmasize[60] \th{\s[(Μ)][\oli]}[ΙΣΟ!]. \\[1ex] \changeisokrathmasize \changemusicsize To return to the default size of the musical fonts (ie. to 22pt or to 100 \%) we simply write \tb changemusicalsize[] and \tb changemusicscale[] respectively. 40 in \tb changemusicsize[40] refers to the musical font size of 40 pt. We never write the pt next to the number in the \tb changemusicsize eg. \tb changemusicsize[40pt] because it will create a problem! It should also be noted that when we make these changes in size then  the distance \tb rul (see above) is  automatically altered; thus all the visual effects we get with the command \tb th. There is no need to simultaneously change the \tb changemusicscale and \tb changemusicsize. The basic difference is that \tb changemusicscale will simultaneously change  the size of the  isokratema font while \tb changemusicsize will not. If we prefer to use the \tb 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 \tb changeisokrathmasize in addition to.  \tb changeisokrathmasize. \end{changetolerance}
\subsection*{Changetolerance and changespaceskip 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 \textbf{changetolerance} with the syntax \kentro{\tb begin \{changetolerance\}[number][a number in a typographical unit length] \\text ... \\\tb end\{changetolerance\}} With appropriate changes to the values of the two arguments we can have a very good alignment of our musical text, no matter how big or small \mbox{\tb changemusicscale}  we use.
%
%\subsubsection*{Example:} \begin{changetolerance}[2000][2em]We rewrite the line in the above paragraph with the help of \tb changetolerance to see the difference in the alignment: \\ \tb begin\{changetolerance\}[2000][2em] \\ [2em]\noindent
%alignment of our musical text no matter how big or small \tb changemusicalscale  we use.

\begin{changetolerance}[2000][2em]
After we complete the paragraph we should finalize  with  \tb end\{changetolerance\} The commands starting with \tb begin and ending with the \tb end\{name of the command\} are  called \textit{environments} in the terminology of \LaTeX{}.  We found the above command in the \url{http://tex.stackexchange.com/questions/84510}. Its syntax needs some attention. We should not omit the pair of brackets [] even if we have empty arguments. For example, the \tb begin \{changetolerance \}[2em] will generate an error while \tb begin \{changetolerance \}[][2em] will not. In other cases we would like the notes to be as tight as possible so that it takes up less space while at other times we can spread things out. For these situations  we created the  \textbf{changespaceskip} environment. For example, \tb begin \{changespaceskip\}[0][][] musical notes... \tb end \{changespaceskip\} will put the notes ... to zero (0) apart. We could even put a negative value  eg. -0.2 for even greater economy on ... paper! The  \textbf{changespaceskip} environment, not only arranges the gap (space) between words, but  the additional percentage  can stretch or shrink. Consequently it has three arguments for space, stretch and shrink. Its syntax is \kentro{\tb begin \{changespaceskip\}[a number for the space][a number for the stretch][and one for shrink] our text ... \tb end \{changespaceskip\}}  The \textit{command} (not environment) \textbf{\tb changeletterspace} is similar to changespaceskip  and is built with the help of another command of \textsf{\tb fontespec}  package. This command gives very good results when we have some text in capitals (like titles, headers etc. ) and we want to spread it out. Below we show the same text in many different ways for the difference to be seen. \end{changetolerance} 

\subsubsection*{Example:} 

\tb\tb\tb changeletterspace[20] \\\changeletterspace[20]

After we complete the paragraph, we should finalize  with  \tb end \{changetolerance \} The commands starting with \tb begin and ending  with the \tb \{name of the command\} are  called \textit{environments} in the terminology of \LaTeX{}.  \tb\tb\\\tb changeletterspace[] \changeletterspace

\tb  begin\{changespaceskip\}[0][-1][1] \begin{changespaceskip}[0][-1][1]\\


After we complete the paragraph, we should finalize  with  \tb end \{changetolerance \} The commands starting with \tb begin and ending  with the \tb end\{name of the command\} are  called \textit{environments} in the terminology of \LaTeX{}.  \tb\tb\\
\end{changespaceskip}\tb end\{changespaceskip\}

\tb begin\{changespaceskip\}[5][][]\tb\tb\\

\begin{changespaceskip}[5][][]After we complete the paragraph, we should finalize  with  \tb end \{changetolerance \} The commands starting with \tb begin and ending  with the \tb end\{name of the command\} are  called \textit{environments} in the terminology of \LaTeX{}.  \tb\tb\\
\end{changespaceskip}\tb end\{changespaceskip\} 
\\
\tb begin\{changespaceskip\}[][5][]\begin{changespaceskip}[][5][] \tb\tb\\

After we complete the paragraph, we should finalize  with  \tb end \{changetolerance \} The commands starting with \tb begin and ending with the \tb end\{name of the command\} are  called \textit{environments} in the terminology of \LaTeX{}.  \tb\tb\\
\end{changespaceskip}\tb end\{changespaceskip\}  
%
\tb begin\{changespaceskip\}[][][3]\begin{changespaceskip}[][][3]\tb\tb\\

  After we complete the paragraph, we should finalize  with  \tb end \{changetolerance \} The commands starting with \tb begin and ending with the \tb end\{name of the command\} are  called \textit{environments} in the terminology of \LaTeX{}.  \tb\tb\\
\end{changespaceskip}\tb end\{changespaceskip\} 

And finally the original text:\\

After we complete the paragraph, we should finalize  with  \tb end \{changetolerance \} The commands starting with \tb begin and ending  with the \tb end\{name of the command\} are  called \textit{environments} in the terminology of \LaTeX{}.  \tb\tb\\
\tb end\{changespaceskip\}\\
Please note that before we start writing BM we should set the special environment \textbf{\tb begin\{byzantinemusic\}}  and when we finish our musical text, the \textbf{\tb end\{byzantinemusic\}}.

\subsection{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  \textsf{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 \textsf{fontspec} or  another package to get exactly the desired  appearance of our letters. The new formatting commands are \textbf{\tb changetextbold, \tb changetextslant} and \textbf{\tb 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.

\subsubsection*{Example:} \begin{changetolerance}[2000][1em] 
We could use the \tb changetextbold[0.6]\changetextbold[0.6] command   to make our letters thicker. We can put an even greater number for even better results: \tb changetextbold[1.5] \changetextbold[1.5] Using the command \tb changetextbold[]  \changetextbold[] we return to the normal thickness. We can also slant our characters with the command \tb changetextslant[0.3] \changetextslant[0.3] and come back to its normal sloping position with the command \tb changetextslant[] \changetextslant[]. Of course, if we like  experimentation we could use the \tb changetextstretch[1.3] \changetextstretch[1.3]  command but the use of large values ​​could give  \tb changetextstretch[2] \changetextstretch[2] undesirable  results! We could simply return to normal  by typing \changetextstretch[] \tb changetextstretch[].

\section{Writing polytonic texts} To write polytonic texts more easily, we should insert in our preamble  an appropriate package using the command \tb usepackage \R{\{greektonoi \}} (for information \url{http: //ctan.sharelatex. com / tex-archive / language / greek / greektonoi / greektonoi.pdf}) to introduce accents and breaths in large polytonic texts in which there are no   \LaTeX{} commands in-between, we should use some proper combinations of keyboard letters without the use of any  additional commands. However,  if we are going to write just a few polytonic words  in a (musical) paragraph that contains several  \LaTeX{} commands (such as those we have already defined), then we  should \changetextslant[0.2] definitely \changetextslant use specific commands of \textsf{greektonoi}  package. These commands are designed with letters of the Greek alphabet and are quite memorable. We  use letters \R{β} (βαρεία, grave accent), \R{ψ} (smooth breathing), \R{τ } (acute accent), \R{π} (circumflex), \R{δ} (rough breathing), \R{λ} (diaeresis), \R{μ} (iota subdcript), \R{μκρ} (long vowel) \R{βρχ} (short vowel) and many other commands to achieve any (ancient  or not) letter or number of the polytonic and monotonic Greek  orthographic system. For example, to get  Ἇ we can simply type \tb πδΑ or \tb δπΑ. Warning: if our word is comprised of more than one syllable then we should give the \XeLaTeX{} the ability to recognize where  our tonal command ends before   the next syllable. This is done by double \R{\{\}} braces eg. we write \kentro{\tb ψα\{\}νατε\tb τι\{\}λ\tb μη or \tb ψα\{\}νατείλ\tb ημ} to get  ἀνατείλῃ. We should note here that acute (\tb τ) does not always coincide with the τόνος(acute) of the monotonic system in some polytonic fonts.
%
%ap' edw
%
This difference will only be visible if we have a  well-designed  polytonic font in our computer. Finally, if the use of the pair of braces \{\} between the syllables looks embarrassing   then we can put somewhere in the text before we start writing polytonic, the \R{\tb tildeON} command which causes the tilde (tilde) \tildde{}  to play the role of double \{\}. For example, the word ανατείλη is easily  converted  to polytonic by typing the appropriate command \tb ψα\tildde νατεί\tildde λ\tb μη. Due to this particular use of \tildde{} after the \tb tildeON, if  we need  to explicitly insert  the tilde symbol somewhere, then we could  use the command \tb char plus its hex value: \tb char"007E. We should insert \tb tildeOFF  immediately after the end of the polytonic text to return to the normal use of the tilde in \TeX.
\end{changetolerance}
\section{Future plans} Our package should be designed  in such a way as to encompass all of the ancient symbols of BM, including ancient Greek Music.  It would also be very useful to build a database of musical BM texts written in \XeLaTeX{}. For your consideration, it is necessary to built an OCR tool that converts printed musical text in \XeLaTeX{} 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  \textsf{abcnotation} program. Details are on our website \url{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.

\section{Acknowledgments} If we did not have  the BZ-fonts of Fr. Ephraim of Arizona (\url{https://www.stanthonysmonastery.org/musical/ByzmusicalFonts.html}) and Mr. Souldatos (\textsf{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  \textsf{BYZLATEX} the first BM package  in \LaTeX{} (\url{https://www.tug.org/TUGboat/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.
\begin{changetolerance}[2000][2em] 
\section{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 \textbf{\tb Longstack[r]} to create the command \textbf{\tb pyrgos } for the construction of floors. This command is not in the byzantinemusic package, but in the preamble  of \textsf{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 \TeX {} without going beyond the right margin. We used the command \tb agkylh[6.5] \{\tb \{\} to insert the large brace at the beginning of the musical text. Also for the construction of the small hyphens, we used the command \tb agkylh* (eg \tb agkylh*[0.5] \{) \}), although we could also use the commands \textbf{\tb yfa, \tb yfk} (see  list of symbols) that are made from BZ-fonts without using any mathematical commands. Certainly \tb 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 \tb frac that has the capacity to make fractions: \$ \tb frac\{4\}\{4 \}\$. We  zoomed this fraction a bit with the command \tb thickshape[!][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 \textbf{\tb 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 \tb begin \{changespaceskip \}[0][][]. In the title of the piece we used each of the \tb changetextbold, \tb changeletterspace, \tb changetextslant commands for better appearance. Moreover, we used  \tb 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 \tb changetextscale[1] (or simply \tb changetextscale[]). We easily centered the title with the command \textbf{\tb kentro}. The remaining verses after the track are placed using the environment \textbf{\tb begin \{verse \} ... \tb end \{verse \}} of \LaTeX.  \end{changetolerance}

\renewcommand{\thefootnote}{\fnsymbol{footnote}}
\noindent \Longstack[r]{ \rbox*[6.8]{\footnotemark[1])Ὑψίφωνος}
{\rbox*[6.5]{μον\μω{}δ\βος{}}} {\rbox*[5]{Ὑψίφωνος}} {\rbox*[3.6]{Μεσόφωνος}} {\rbox*[2.4]{Ὀξύφωνος}} \rbox*[0.4]{Βαρύφωνος}}\footnotetext[1]{)Τ\βα τρία πρ\πω{}τα μέρη θέλουσιν \ψε{}κτελε\πι πα\πι{}δες } \keno[0.2]\rbox[2.8]{\marts[\pa][\padia]}\stackon[2ex]{\bsline{\agkylh[6.5]{\{}}}{\marts[\paton][\padia]} \stackon[0.2ex]{\rbox[3.2]{\thickshape[!][1]{$\frac{4}{4}$}}}{\rbox[7.1]{\thickshape[!][1]{$\frac{4}{4}$}}}\thickshape[4pt][8]{\bsline{|}}
\pyrgos[\bartttt][][\ypsoli\klaM][Κυ][\olixk\kla][\ypsoli\klaM][Κυ][\klaiso][Κυ]%
\pyrgos[][][\gapo][ρι][\gapo][\giso][ρι][\giso][ρι]%
\keno[-0.1]%
\pyrgos[][][\apo][ε][\apo][\iso][ε][\iso][ε]%
\keno[-0.1]%
\pyrgos[][][\oli][ε][\oli][\iso][ε][\iso][ε]%
\pyrgos[\L][][\L][][\L][\L][][\L][]
%
\pyrgos[\olixk\kla][Κυ][\klaoli][λεη][\klaoli][\klaiso][λεη][\klaiso][λεη]%
\keno[-0.05]%
\pyrgos[\p\gapo][ρι][\klaela][σον][\klaela][\klaiso][σον][\klaiso][σον]%
\keno[-0.2]
\pyrgos[\iso][ε][][][][][][][]%
%
\pyrgos[\gapo][ε][][][][][][][]
\pyrgos[\apod][ε][][][][][][][]
\pyrgos[\kkg][ε][][][][][][][]
%
\pyrgos[\L][][\L][][\L][\L][][\L][]
\pyrgos[\oli][λε][\klaoli][Κυ][\klaoli][\klaiso][Κυ][\ypsoli\klaM][Κυ]
\pyrgos[\elad\gp][η][\gapo][ρι][\gapo][\giso][ρι][\gxamelaapo][ρι]%
\keno[-0.1]%
\pyrgos[\ela][σον][\apo][ε][\apod][\iso][ε][\iso][ε]%
\pyrgos[\bartt][][\oli][ε][\oli][\iso][ε][\iso][ε]%
\thickshape[4pt][8]{\bsline{|}}
\pyrgos[\ypsolikla][Κυ][\oli\bm[\agkylh*[0.5]{)},-0.2,0.3]][λε][\apod][\klaiso][λεη][\klaiso][λεη]%
\pyrgos[\giso][ρι][\oli][εη][\olixk][][][][]%
\pyrgos[\oliapo\gD][ε][\klaela][σον][\klaapo][\klaiso][σον][\klaiso][σον]%
\pyrgos[\apo\gapod][][][][][][][][]%
%
\pyrgos[\L][][\L][][\L][\L][][\L][]%
\pyrgos[\oli][λεη][\klaolixk][Κυ][\klaolixk][\klaiso][Κυ][\kolikla][Κυ]%
\pyrgos[\elaapo][σον][\gapo][ρι][\gapo][\giso][ρι][\giso][ρι]%
\pyrgos[\bartt][][\apo][ε][\apo][\iso][ε][\iso][ε]
\pyrgos[][][\oli][ε][\oli][\iso][ε][\iso][ε]%
%
\pyrgos[\L][][\L][][\L][\L][][\L][]%
\pyrgos[\kolikla][Κυ][\klaoli][λε][\klaoli][\klaiso][λε][\klaiso][λε]
\pyrgos[\elaapo\g][ρι][\olikla\y][ε][\klaoli][\olikla\y][ε][\kolikla][ε]
\pyrgos[\olixk\gapo][ε][][][][][][][]%
\pyrgos[\apogapo][ε][][][][][][][]%
\pyrgos[\L][][\L][][\L][\L][][\L][]
\pyrgos[\klaiso][λε][\klaapo][ε][\klaapo][\oli][ε][\klaoli][ε]\pyrgos[\olixk\bm[\agkylh*[0.5]{(},-0.3,1.1]][ε][\klaapo][εη][\klaapo][\ela][ε][][]
\pyrgos[\olixk][εη][][][][\klaapo][εη][\klaxamelaapo][εη] 
%
\pyrgos[\L][][\L][][\L][\L][][\L][]%
 \pyrgos[\apott][σον][\apott][σον][\apott][\olitt][σον][\koli\ttM][σον]%
\thickshape[4pt][8]{\bsline{|}}\\[1ex]

The following is a different construction of the tower using the command \textbf{\tb pyrgosh} (each level contains more than one notes).\vspace{-1ex}

\thickshape[4pt][9]{\bsline{|}}
\pyrgosh[\th{\bartttt}][\th{\ypsolikla}[Κυ]\th{\gapo}[ρι]\th{\apo}[ι]\th{\oli}[ε]][%3o
\th{\klaolixk}[Κυ]%
\th{\gapo}[ρι]\th{\apo}[ε]\th{\oli}[ε]][\th{\ypsolikla}[Κυ]\th{\giso}[ρι]\th{\oli}[ε]\th{\iso}[ε]][%
\th{\iso\kla}[Κυ]\th{\giso}[ρι]\th{\iso}[ε]\th{\iso}[ε]]
\pyrgosh[\th{\L}[]][\th{\L}[]][\th{\L}[]][\th{\L}[]][\th{\L}[]]
\newpage
\kentro{\changetextbold[2]\changetextslant[0.2]\changetextscale[1.5]\changeletterspace[10]\thickshape[!][0.5]{Σ}τό  \δαπ{}πα κα\βι στ\βο ξαναλέω\changetextbold\changeletterspace\changetextslant\\(\ψΑ{}ντικρυστ\βο Μικρ\πας \ψΑ{}σίας)}\changemartcolor[black]
{\centering
\hxoh\plah\keno\kediah \keno[0.2] \rbox[0.38]{\thickshape[!][1]{\padiakem}}\keno[0.2]  \ypskoli   \par} \changemartcolor
\changetextscale[1]
\begin{changespaceskip}[0][][]
\th{\xrs[\bmchi][\kediam]} \keno \th{\bartt}[]\th{\ggapo}[Στο] \th{\oli}[πα] \th{\iso}[και] \th{\iso}[στο] \th{\apo}[ξα] \th{\pggolikk}[α] \th{\apo}[α] \th{\gapo}[να]%
%
  \barth{\oli}[λε] \th{\gggypo}[ε] \th{\apo}[ε] \th{\oli}[ω]\th{\gadiam}[]\keno \th{\olixkpsh}[στο] \th{\pgapo}[για] \barth{\iso}[λο] \th{\ggiso}[ο] \th{\apo}[μην] 
  %
  \barth{\apo}[κα] \th{\ggapo}[α] %
  \th{\kk}[α] \th{\olixkpsh}[α] %
  \th{\gggapo}[α] \th{\apo}[τε] %
  \th{\apo}[ε] \th{\klaiso}[βεις]\keno %
  \th{\padiam}[]\keno %
  \th{\koli\ggPD}[στο] %
  \th{\oli}[πα]%
 \th{\iso}[και] \th{\iso}[στο] \th{\apo}[ξα] \th{\pggolikk}[α] \th{\apo}[α] \th{\gapo}[να] \barth{\oli}[λε] \th{\gggypo}[ε] \th{\apo}[ε] \th{\oli}[ω]%
  \th{\gadiam}[] \th{\olixkpsh}[στο] \th{\pgapo}[για] \barth{\iso}[λο] \th{\ggiso}[ο] \th{\apo}[μην] \barth{\apo}[κα] \th{\ggapo}[α] \th{\kk}[α] \th{\olixkpsh}[α] \th{\gggapo}[α] \th{\apo}[τε] \th{\apo}[ε]%
   \th{\klaiso}[βεις]\keno \th{\padiam}[]\keno \th{\olixk\gg}[κιο] \th{\apo}[για] \th{\oli}[λος] \th{\iso}[κα] \th{\golixkant}[α] \th{\apopet}[νει] \th{\gypo}[ει]%
\keno \th{\gapo}[φουρ] \barth{\oli}[του] \th{\gggypo}[ου] \th{\apo}[ου] \th{\oli}[να]\keno \th{\nhdiam}[]\keno \th{\kpet}[και] \th{\pgapo}[σε] 
 \barth{\iso}[πα] \th{\iso\gg}[α] \th{\apo}[ρει]\keno %
  \th{\apo}[και] \th{\pgoliant}[αι] \th{\apo}[αι] \th{\gggapo}[αι] \th{\iso}[χα] \th{\apo}[α] \th{\iso}[θει] \th{\pgolikk}[ει] \th{\kkg}[ει] \th{\pet}[ει] \th{\ggapo}[ει] \th{\kk}[ει]%
    \th{\oli}[εις] \th{\gadiam}[] \th{\ggiso}[κιο] \th{\apo}[για] \th{\oli}[λος] \th{\iso}[κα] \th{\golixkant}[α] \th{\apopet}[νει] \th{\gypo}[ει]\keno \th{\gapo}[φουρ]%
     \barth{\oli}[του] \th{\gggypo}[ου]\keno\th{\apo}[ου] \th{\oli}[να]\keno \th{\nhdiam}[]\keno \th{\kpet}[και] \th{\pgapo}[σε] \barth{\iso}[πα] \th{\ggiso}[α] \th{\apo}[ρει]\keno \th{\apo}[και] \th{\pgoliant}[αι] \th{\apo}[αι] \th{\gggapo}[αι] \th{\iso}[χα] \th{\apo}[α] \th{\klaiso}[θεις] \keno \th{\padiakem}[]
\end{changespaceskip}

\noindent
\begin{verse}
\bm[\marts[\ga][\gadia],-0.8]Κι\δαπ \ψταν μ\βε πάρει πο\πυ μ\βε πάει;\\
\-- Κάτω στ\βα βαθι\βα νερά!\\
Κάνω τ\βο κορμ\βι μου βάρκα,\\
τ\βα χεράκια μου κουπιά,\\
τ\βο μαντήλι μου πανάκι, \\
μπαίνω βγαίνω στ\βη στεριά!\\
Στ\ό \δαπ{}πα κα\βι στ\βο ξαναλέω\\
μ\βή μο\πυ γράφεις γράμματα\\
γιατ\βι γράμματα δέν ξέρω \\
κα\βι μ\βε πιάνουν κλάματα.
\end{verse}
\section{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 ίσον, the oxe for
 οξεία, the oli for ολίγον, the pet for πεταστή, k for κέντημα, the xk is k right bellow ίσον, the yps (or ypsD) for
 υψηλή which is positioned to the right(D) of ίσον, the yps (or better ypsA) for υψηλή to the
 left(A) of ίσον, the kk for κεντήματα, the g for the γοργόν, the
 gg for δίγοργον, ggg for τρίγοργον etc., The t for απλή(aple), tt for double απλή(diple), ttt for τριπλή(triple), p for dotted  g, gg, ggg etc. The synela for συνεχές ελαφρόν, the apo for the απόστροφος(apostrophe), the xapo for apostrophe
below  oli, the ela for ελαφρόν, the ypo
for υπορροή  and xam for χαμηλή. In some complex
musicalical 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
συνεχές ελαφρόν we had to create the command \tb syn with 
 exactly the same syntax as the command \ th.


\subsubsection*{Example:} \noindent\tb th\{\tb synela\}[\tb ne e] $\Rightarrow$ \th{\synela}[\ne ε]  and\\  \tb syn\{\tb ela \}[\tb ne e] $\Rightarrow$ \syn{\ela}[\ne ε]

 
\subsection{Symbols for ascending and descending}
\noindent
\begin{longtable}{l@{\hspace{-.08cm}}l@{\hspace{-.08cm}}r|l@{\hspace{-0.08cm}}l@{\hspace{-.08cm}}r}\toprule
{Command}&{Result}&{}&{Command}&{Result}&{}
\\\midrule
\multicolumn{6}{c}{Symbols for ascending} 
\\
\midrule%
\Ru\tb isopet &\isopet &&
\tb pet & \pet &\\\midrule
\Ru\tb olipet &\olipet &&
\Ru\tb kpet &\kpet &\\\midrule
\Ru \cellpar{\tb ypspet  and\\ \tb ypsDpet} &\ypsDpet &&\Ru\tb iso &\iso &\\\midrule
\Ru\tb oli & \oli &&
\Ru\tb olixk &\olixk &\\\midrule
\Ru\tb koli & \koli &&
\Ru\cellpar{\tb ypsoli  and\\ \tb ypsDoli} &\ypsDoli
&\\\midrule
\Ru \cellpar{\tb olixkantt  and\\ \tb olixkantapl}
& \olixkantt&&
\Ru\tb oxe &\oxe &\\\midrule
\Ru\tb k& \k &&
\Ru\tb gkkoli &\gkkoli &\\ \midrule
\Ru\tb olikkantt &\olikkantt &&
\Ru\tb kk & \kk &\\\midrule
\Ru\tb olikkD & \olikkD &&
\Ru\tb kkoli &\kkoli &
\\\midrule
\Ru\tb ypskkoli& \ypskkoli &  &
\Ru \cellpar{\tb ypsAoli  and\\ \tb Vanwoli}
&\ypsAoli &
\\\midrule
\Ru\cellpar{\tb VIanwpet and \\\tb kypspet } &
%%
\VIanwpet & &
\Ru\cellpar{\tb VIIanwpet and \\\tb ypskpet }
&\VIIanwpet &
\\\midrule
\Ru \cellpar{\tb VIIIanwpet and \\\tb ypsypspet }
&\VIIIanwpet &&
\Ru\tb kkypsoli &\kkypsoli &
\\\midrule
\Ru\cellpar{\tb Vanwoli and \\\tb ypsAoli }
&\Vanwoli &  &
\Ru\cellpar{\tb VIanwoli and \\\tb kypsoli }
&\VIanwoli &
\\\midrule
\Ru\cellpar{\tb VIIIanwoli and \\\tb ypsypsoli }
&\VIIIanwoli & 
&\cellpar{\tb IXanwpet and \\\tb ypskkypspet }
&\IXanwpet &
\\\midrule
\Ru\cellpar{\tb Xanwpet and \\\tb ypskypspet }
&\Xanwpet & &
\cellpar{\tb XIanwpet and \\\tb ypsypskpet }
&\XIanwpet &
\\\midrule
\Ru\cellpar{\tb XIIanwpet and \\\tb ypsypsypspet }
&\XIIanwpet &&
\cellpar{\tb XIIIanwpet and \\\tb ypsypskkypspet }
&\XIIIanwpet &
\\\midrule
\Ru\cellpar{\tb XIVanwpet and \\\tb ypsypskypspet
} &\XIVanwpet & &
\Ru\cellpar{\tb IXanwoli and \\\tb ypskkypsoli }
&\IXanwoli &
\\\midrule
\Ru \cellpar{\tb Xanwoli and \\\tb ypskypsoli }
&\Xanwoli & &
\Ru \cellpar{\tb XIanwoli and \\\tb ypsypskoli }
&\XIanwoli &
\\\midrule
\Ru\cellpar{\tb XIIanwoli and \\\tb ypsypsypsoli }
& \XIIanwoli&  &
\Ru\cellpar{\tb XIIIanwoli and \\\tb
ypsypskkypsoli } &\XIIIanwoli &
\\\midrule
\Ru\cellpar{\tb XIVanwoli and \\\tb ypsypskypsoli
} &\XIVanwoli & &
\Ru\cellpar{\tb XVanwk}
&\XVanwk &
\\\midrule
\Ru\tb kkypsolik &\kkypsolik & &
 \tb XVanwpet&\XVanwpet &
\\\midrule
\Ru\tb isokkoli &\isokkoli &  &
\tb isokkoxe &\isokkoxe &
\\\midrule
\Ru\tb olixkant &\olixkAnt &  &
\tb ggkkoli &\ggkkoli &
\\\midrule
\Ru\tb olik &\olik &  &
\tb kkolik &\kkolik &
\\\midrule
\Ru\tb ypskkolik &\ypskkolik &  &
\tb ypsAoxe &\ypsAoxe &
\\\midrule
\Ru\cellpar{\tb VIanwoxe and \\\tb kypsoxe}
&\VIanwoxe & &
\cellpar{\tb VIIanwoxe and \\\tb ypskoxe}
&\VIIanwoxe &
\\\midrule
\Ru\cellpar{\tb VIIIanwoxe and \\\tb
ypsypsoxe} &\VIIIanwoxe & &
\tb isooxe &\isooxe &
\\\midrule
\Ru\tb oxexk &\oxexk &  &
\tb oxek &\oxek &
\\\midrule
\Ru\tb koxe &\koxe &  &
\cellpar{\tb ypsoxe and \\\tb ypsDoxe} &\ypsoxe
&
\\\midrule
\Ru\tb  ypskkoxe &\ypskkoxe &  &
\tb oxexkant &\oxexkAnt &
\\\midrule
\Ru\tb ggkkoxe &\ggkkoxe &  &
\tb gkkoxe &\gkkoxe &
\\\midrule
\Ru\cellpar{\tb XIanwoxe and \\\tb ypsypskoxe}
& \XIanwoxe & &
\cellpar{\tb XIIanwoxe and \\\tb ypsypsypsoxe
} &\XIIanwoxe &
\\\midrule
\Ru\tb kkypsoxe &\kkypsoxe &  &
\tb oxekkD &\oxekkD &
\\\midrule
\Ru\tb kkoxe &\kkoxe &  &
\cellpar{\tb IXanwoxe and \\\tb ypskkypsoxe}
&\IXanwoxe &
\\\midrule
\Ru\cellpar{\tb Xanwoxe and \\\tb ypskypsoxe}
&\Xanwoxe &  &
\tb isooli &\isooli &\\\midrule
\multicolumn{6}{c}{Symbols for descending}
\\\midrule
\Ru\cellpar{\tb isoapo and \\\tb isoxapo} &\isoapo
& &
\tb apokkoli &\apokkoli &
\\\midrule
\Ru \cellpar{\tb apoapo and \\\tb apoxapo} &\apoapo
& &
\tb synelapet &\synelapet &
\\\midrule
\Ru\tb apopet  &\apopet &  &
\tb elapet &\elapet &
\\\midrule
\Ru\tb  elaapopet &\elaapopet &  &
\tb gypo &\gypo &
\\\midrule
\Ru\tb  ypopet &\ypopet &  &
\tb synela &\synela &
\\\midrule
\Ru\tb apo &\apo &  &
\tb ela &\ela &
\\\midrule
\Ru\tb elaapo  &\elaapo &  &
\tb xam &\xam &
\\\midrule
\Ru\tb ypo &\ypo &  &
\tb apooli &\apooli &
\\\midrule
\Ru\tb  ypooli &\ypooli &  &
\tb xamoli &\xamoli &
\\\midrule
\Ru\tb  elaoli &\elaoli &  &
\tb elaapooli &\elaapooli &
\\\midrule
\Ru\tb synelakkoli &\synelakkoli &  &
\tb xamkkoli &\xamkkoli &
\\\midrule
\Ru\tb  elakkoli &\elakkoli &  &
\tb elaapokkoli &\elaapokkoli &
\\\midrule
\Ru\tb  gpypo &\gpypo &  &
\tb pgypo &\pgypo &
\\\midrule
\Ru\tb  pggypo &\pggypo &  &
\tb ggypo &\ggypo &
\\\midrule
\Ru\tb  pgggypo &\pgggypo  & &
\tb gggypo &\gggypo &
\\\midrule
\Ru\tb  gypokkoli &\gypokkoli &  &
\tb ypokkoli &\ypokkoli &
\\\midrule
\Ru\tb  gggypokkoli &\gggypokkoli &  &
\tb gggypokkoli &\gggypokkoli &
\\\midrule
\Ru\tb  gpypokkoli &\gpypokkoli &  &
\tb pgypokkoli &\pgypokkoli &
\\\midrule
\Ru\tb  ggpypokkoli &\ggpypokkoli &  &
\tb pggypokkoli &\pggypokkoli &
\\\midrule
\Ru\tb  gggpypokkoli &\gggpypokkoli &  &
\tb pgggypokkoli &\pgggypokkoli &
\\\midrule
\Ru\tb  xampet &\xampet &  &
\cellpar{\tb Vkatpet and \\\tb xamapopet } &
\Vkatpet &
\\\midrule
\Ru\tb  xamapo &\xamapo &  &
\cellpar{\tb VIkatpet and \\\tb xamelapet}
&\VIkatpet & 
\\\midrule
\Ru\tb  xamela &\xamela &  &
\tb xamelaapopet &\xamelaapopet &
\\\midrule
\Ru\tb  xamelaapo &\xamelaapo &  &
\tb xamxampet &\xamxampet &
\\\midrule
\Ru\tb  xamxam &\xamxam &  &
\tb xamxamapopet &\xamxamapopet &
\\\midrule
\Ru\tb  xamxamapo &\xamxamapo &  &
\tb xamxamela &\xamxamela &
\\\midrule
\Ru\cellpar{\tb XIkat  and\\ \tb xamxamelaapo}
&\XIkat & &
\cellpar{\tb XIIkat  and\\ \tb xamxamxam}
&\XIIkat &
\\\midrule
\Ru\cellpar{\tb XIIIkat and \\\tb xamxamxamapo}
&\XIIIkat & &
\cellpar{\tb XIVkat and \\\tb xamxamxamela}
&\XIVkat &
\\\midrule
\Ru \cellpar{\tb XVkat and \\\tb xamxamxamelaapo}
&\XVkat & &
  & &
\\\midrule
\Ru\tb  gypokkoxe &\gypokkoxe &  &
\tb pggypokkoxe &\pggypokkoxe &
\\\midrule
\Ru\tb pgggypokkoxe &\pgggypokkoxe &  &
\tb ypokkoxe &\ypokkoxe &
\\\midrule
\Ru\tb  ggypokkoxe &\ggypokkoxe &  &
\tb gggypokkoxe &\gggypokkoxe &
\\\midrule
\Ru\tb synelaoxe &\synelaoxe &  &
\tb apokkoxe &\apokkoxe &
\\\midrule
\Ru\tb elakkoxe &\elakkoxe &  &
\tb elaapokkoxe &\elaapokkoxe &
\\\midrule
\Ru\tb xamkkoxe &\xamkkoxe &  &
\tb gypooxe &\gypooxe &
\\\midrule
\Ru\tb synelaoxe &\synelaoxe &  &
\tb apooxe &\apooxe &
\\\midrule
\Ru\tb elaapooxe &\elaapooxe &  &
\tb xamoxe &\xamoxe &
\\\midrule
\Ru\tb ypooxe &\ypooxe &  &
 \tb oliapo&\oliapo &
  \\ \midrule
\end{longtable}
 
\subsection{Rest symbols}
For the rests we use  βαρεία(bar) with an απλή(t) to its right. The \tb bart combination is also  defined as pay(from the Greek word πα\πυ{}σις). 
\begin{longtable}{l@{\hspace{-.08cm}}l@{\hspace{-.08cm}}r|l@{\hspace{-0.08cm}}l@{\hspace{-.08cm}}r}\toprule
{Command}&{Result}&{}&{Command}&{Result}&{}
\\\midrule
\Ru\cellpar{\tb bart  and\\ \tb pay} &\bart
& &
\tb bartt &\bartt &
\\ \midrule
\Ru \cellpar{\tb barttt}
&\barttt & &
\tb bartttt&\bartttt&
\\\midrule 
\Ru \cellpar{\tb bartg and \\\tb bargt}
&\bartg & &
\cellpar{\tb bartpg  and\\ \tb barpgt}
&\bartpg &
\\\midrule
\Ru \cellpar{\tb bartgp and \\\tb bargpt}
&\bartgp &&
%\cellpar{\tb bartpg  and\\ \tb barpgt}
&%\bartpg 
&\\\midrule
\end{longtable}

\subsection{Qualitative signs}%quantitative and qualitative signs, temporal signs, flats and sharps, martyries and fthores)
\begin{changetolerance}[2000][2em]
 The quality characters are auxiliary musical symbols that are placed underneath the main musical symbols. These are the έτερον (ete), ομαλόν  (oma),  λύγισμα (lyg),  τρομικόν(tro),  εκστρεπτρόν(eks),  πίασμα(pia), παρακλητική(par), αντικένωμα (ant),  small αντικένωμα (anm), ψηφιστόν(psh) and the opened  ψηφιστόν (psa). In some complex cases, we had to use the command \tb bm to place the quality characters appropriately.  Indicators like M, MD, K naturally refer to the position of the character relative to their positions below \tb iso. Thus,  the \tb etepsaKD  is the combination of ete and psa positioned under (K) and to the right (D) of \tb iso (or any other musical character with the same width  as \tb iso). Here are some examples for your consideration.
\end{changetolerance}

\subsubsection*{Example:} \noindent
\tb oli\tb eteMD \tb iso $\Rightarrow$ \oli\eteMD\iso and \tb oli\tb eteMDD \tb iso $\Rightarrow$ \oli\eteMDD\iso
\\\tb iso\tb eteM$\Rightarrow$ \iso\eteM \\
 \tb  iso\tb ttM\tb eteKDD\tb iso or simpler   \tb  isotteteKDD\tb iso $\Rightarrow$ \iso\ttM\eteKDD\iso\\
\tb  apot\tb eteKD\tb iso  $\Rightarrow$ \apot\eteKD\iso\\
\tb  oli\tb ttM\tb eteK\tb iso  and \tb  olitt\tb eteK\tb iso $\Rightarrow$\oli\ttM\eteK\iso\\
\tb oli\tb omaMDD\tb iso and \tb oliomaMDD\tb iso $\Rightarrow$\oli\omaMDD\iso\\
\tb olikk\tb omaKDD and \tb olikkomaKDD $\Rightarrow$ \olikk\omaKDD\\
\tb isopet\tb eteMDD\tb apogkkoli and \tb isopeteteMDD \tb apogkkoli  $\Rightarrow$ \isopet\eteMDD\apogkkoli \\
\tb oli\tb eteMDD\tb iso\tb psaM and  \tb olieteMDD \tb iso \tb psaM $\Rightarrow$ \oli\eteMDD\iso\psaM\\
 \tb olikk\tb eteKDD\tb isokkoli\tb psaK and \tb olikketeKDD\tb isokkoli\tb psaK $\Rightarrow$ \olikk\eteKDD\isokkoli\psaK
 
\begin{longtable}{l@{\hspace{-.08cm}}l@{\hspace{-.08cm}}r|l@{\hspace{-0.08cm}}l@{\hspace{-.08cm}}r}\toprule
{Command}&{Example}&{}&{Command}&{Example}&{}
\\\midrule
\Ru\cellpar{symbol+\tb eteMDD} &\oli\eteMDD\iso  &
 &
\tb eteKDD &\iso\ttM\eteKDD\iso &
\\\midrule
\Ru \tb eteMD &\apo\eteMD& &
 \tb eteM &\iso\eteM   &
\\\midrule
\Ru \tb eteΚD &\apot\eteKD\iso & &
 \tb eteΚ & \oli\eteK\ttM\iso&
\\ \midrule
\Ru \tb omaK &\olikk\omaK & &
 \tb omaM &\oli\omaM&
\\\midrule
\Ru  \tb omaMDD & \oli\omaMDD\iso & &
 \tb omaMD & \apo\omaMD&
\\\midrule
\Ru  \tb omaKD &\apot\omaKD& & 
 \tb omaKDD & \olikk\omaKDD\iso&
\\\midrule
\Ru  \tb lygMDD & \oli\lygMDD\iso &&
\tb lygMD & \apo\lygMD&
\\\midrule
\Ru \tb lygM & \oli\lygM &&
 \tb troM &\oli\troM &
\\\midrule
\Ru \tb troMD & \apo\troMD &&
\tb eksMD   &\apo\eksMD& 
\\\midrule
\Ru \tb eksM  &\oli\eksM &&
\tb piaMD  &\apo\piaMD&
\\\midrule
\Ru \tb parP  &\iso\parP &&
\tb parPD & \apo\parPD&
\\\midrule
\Ru \tb edoKD &\apott\edoKD  & &
\tb eteMDD &\isopet\eteMDD\apogkkoli 
\\\midrule
\Ru \tb pshM & \olikk\pshM& &
\tb pshMD & \apo\pshMD&
\\\midrule
\Ru \cellpar{opened ψηφιστό\\\tb psaM} & \oli\eteMDD\iso\psaM& &
\tb psaK & \olikk\bm[\eteKDD,0,0.05]\isokkoli\psaK&
\\\midrule
\Ru \tb antM &\oli\antM & &
\cellpar{anmMD} & \apo\anmMD&
\\\midrule
\Ru \tb antK &\olixk\antK  &&
\tb antK &\elaapo\antK  &
\\\midrule
\Ru \tb anmM &\xam\anmM & &
\tb antK &\xamelaapo\antK &
\\\midrule
\Ru  \tb anttM &\iso\anttM& &
\tb anmtMD &\apo\anmtMD &
\\\midrule
\Ru \tb anmtM &\xam\anmtM & & 
\tb anttK &\olixk\anttK & 
\\\midrule
\Ru \tb olieteMDD &\olieteMDD & & 
\tb isopeteteMDD &\isopeteteMDD & 
\\\midrule
\multicolumn{6}{c}{\parbox{10cm}{Difficult cases. They are made using  \tb bm.}}
\\\midrule
\Ru \tb apoeteMDD&\apoeteMDD\isopet&&
\tb olikketeKDD&\olikketeKDD& 
\\\midrule
\Ru \tb petant &\petant & &
\cellpar{\tb olikant and \\\tb oliantk} &\olikant & 
\\\midrule
\Ru \tb petantt &\petantt & &
\cellpar{\tb olikantt and \\\tb olianttk}&\olikantt & 
\\\midrule
\Ru\tb etepsaKD &\ypsoli\tttM\etepsaKD\iso& &
\tb etepsaKDD &\olikk\etepsaKDD\isokkoli & 
\\\midrule
\end{longtable}
\subsection{Aple(small dot) - diple - triple}
The aple, diple and triple are denoted by the letters t, tt and ttt respectively. There are some difficult cases of musical combinations in which the  \tb t, \tb tt, or \tb ttt  require small displacements using \tb bm or other commands for better visual effect. In such cases we designed additional commands.

\begin{longtable}{l@{\hspace{-.08cm}}l@{\hspace{-.08cm}}r|l@{\hspace{-0.08cm}}l@{\hspace{-.08cm}}r}\toprule
{Command}&{Example}&{}&{Command}&{Example}&{}
\\\midrule
\Ru\cellpar{\tb oli\tb tM} &
\oli\tM &&
\cellpar{\tb iso\tb ttM } &\iso\ttM
&
\\\midrule
\Ru\cellpar{\tb iso\tb tttM}
&\iso\tttM &&
\tb apo\tb tMD &\apo\tMD &
\\\midrule
\Ru\tb  apo\tb ttMD &\apo\ttMD &  &
\tb  apo\tb tttMD &\apo\tttMD &
\\\midrule
\Ru\tb ypo\tb tMD  &\ypo\tMD &  &
\tb  ypo\tb ttMD &\ypo\ttMD &
\\\midrule
\Ru\tb  ypo\tb tttMD &\ypo\tttMD &  &
\tb apoapo\tb tKD &\apoapo\tKD &
\\\midrule
\Ru\tb apoapo\tb ttKD  &\apoapo\ttKD  &  &
\tb apoapo\tb tttKD &\apoapo\tttKD &
\\\midrule
\Ru\tb oxe\tb tM   &\oxe\tM &  &
\tb xamoli \tb tM &\xamoli\tM &
\\\midrule
\multicolumn{6}{c}{Difficult cases}
\\\midrule
\Ru\tb XVkatt  &\XVkatt & &
\cellpar{\tb xamxamapot  and\\ \tb IXkatt}
&\IXkatt &
\\\midrule
\Ru\cellpar{\tb xamxamapopett  and\\ \tb IXkatpett}
&\xamxamapopett &&
\Ru\cellpar{\tb Xkatt and \\\tb xamxamelat} &
\Xkatt &
\\\midrule
\Ru\tb isoapot &\isoapot &&
\tb  oliapot &\oliapot &
\\\midrule
\Ru\tb elat  &\elat &  &
\tb elaapot &\elaapot &
\\\midrule
\Ru\tb pett   &\pett &  &
\cellpar{\tb olitk and \\\tb olikt}  &\olikt  &
\\\midrule
\Ru\tb xamt   &\xamt &  &
\tb  olixkt &\olixkt &
\\\midrule
\end{longtable}

\subsection{Small ison  and  musical hyphen}

To ισάκι(smallon iso) is an auxilary symbol and has two forms: the normal \tb isa and lowered \tb 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 \tb 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 \tb yfma  and \tb yfmk (small hyphens) always have a  fixed width while \tb yfa and \tb yfk have a variable width and position. All these  hyphens are placed between the hyphened  characters. Otherwise, we need to  use the command \tb bm or possibly  change the pre-determined values of the second and third argument of \tb yfa and \tb yfk (corresponding to horizontal and vertical displacement of the hyphen, respectively) for better positioning.

\subsubsection*{Example:} 
\noindent  \tb iso\tb isaA $\Rightarrow$ \iso\isaA\\
\tb apo\tb isaD $\Rightarrow$ \apo\isaD\\
\tb isa\tb iso $\Rightarrow$ \isa\iso
\tb iso\tb yfmk\tb iso $\Rightarrow$ \iso\yfmk\iso\\
\tb iso\tb iso\tb yfa[3.5]\tb iso\tb iso $\Rightarrow$ \iso\iso\yfa[3.5]\iso\iso\\
\tb iso\tb iso\tb yfa[3.5,-0.04,0.05]\tb iso\tb iso $\Rightarrow$ \iso\iso\yfa[3.5,-0.04,0.05]\iso\iso\\
\vspace{1em}
\begin{longtable}{l@{\hspace{-.08cm}}l@{\hspace{-.08cm}}r|l@{\hspace{-0.08cm}}l@{\hspace{-.08cm}}r}\toprule
{Command}&{Example}&{}&{Command}&{Example}&{}
\\\midrule
\Ru\cellpar{\tb isk } &\isk\iso      &&
\cellpar{\tb isaA is positioned from \\the left } &\iso\isaA &
\\\midrule
\Ru \cellpar{use \tb isaD for  \\small symbols } &\apo\isaD& &
\tb  isa & \isa\iso&
\\\midrule
\Ru \cellpar{\tb yfma (small hyphen)\\from above } &\iso\yfma\iso & &
\cellpar{\tb yfmk (small hyphen) \\below} &\iso\yfmk\iso& 
\\\midrule
\Ru \cellpar{variable witdth\\\tb yfa } &\iso\yfa[2]\iso & &
 \cellpar{variable witdth\\\tb yfk } &\apo\yfk[]\iso &
\\\midrule
\end{longtable}

\subsection{Signs that add duration} The kla command is used to double the  duration. There are various forms of the \tb kla according to their normal position over the iso sign.  The following  are example of kla commands: kla,  klaA, klaD which put the kla at the middle, to the left or the right, while klaM, klaMD, klaKD commands place kla below    the  center, center right  and below to the  right, but lower than klaMD. Usually, we would not need to use all these  kla symbols in a composition because we have already built   common combinations containing kla covering most of our needs. For example,  instead of typing  \tb iso \tb kla can simply insert \tb klaiso. Instead of \tb iso \tb klaM we can simply write \tb isokla (as we have already mentioned we usually do not use the additional signs M, D, DD .. in compound command  names, because lengthly names are  difficult typed). Exactly the same rules are applied  to the \tb tsa(tsakisma) symbol.
 
 \subsubsection*{Example:}
\noindent \tb pet\tb tsaK $\Rightarrow$ \pet\tsaK \\
\tb synela\tb kla $\Rightarrow$ \synela\kla \\
\tb klaapoolipsh $\Rightarrow$ \klaapoolipsh\vspace{1em}

\begin{longtable}{l@{\hspace{-.08cm}}l@{\hspace{-.08cm}}r|l@{\hspace{-0.08cm}}l@{\hspace{-.08cm}}r}\toprule
{Command}&{Example}&{}&{Command}&{Example}&{}
\\\midrule
\Ru\cellpar{\tb klaM }
&\oli\klaM &&
\cellpar{\tb iso\tb tsaM}
&\iso\tsaM &
\\\midrule
\Ru\cellpar{\tb iso\tb kla }
&\iso\kla &&
\cellpar{\tb oli\tb tsa} &\oli\tsa
&
\\\midrule
\Ru \cellpar{\tb apo\tb tsaD}&\apo\tsaD
& &
\cellpar{\tb ypsoli\tb klaA} &\ypsoli\klaA &
\\\midrule
\Ru\cellpar{\tb pet\tb tsaK}
&\pet\tsaK& &
\cellpar{\tb pet\tb klaKD}
&\pet\klaKD &
\\\midrule
\Ru\tb  ela\tb klaK &\ela\klaK &  &
\tb  elaapo\tb klaK &\elaapo\klaK &
\\\midrule
\Ru\tb synela\tb kla &\synela\kla & &
\cellpar{\tb ela\tb kla} &\ela\kla
& 
\\\midrule
\Ru \cellpar{\tb isopet \tb klaK } &\isopet\klaK & &\tb xamapo\tb klaD
& \xamapo\klaD & 
\\\midrule
\Ru \tb xamela\tb klaPD &\xamela\klaPD & &
σύνθεση με το \tb klaP & \klaapoolipsh& 
\\\midrule\end{longtable}
\subsection{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 \tb bm or

other command, in some difficult cases. \vspace{1em}
\begin{longtable}{l@{\hspace{-.08cm}}l@{\hspace{-.08cm}}r|l@{\hspace{-0.08cm}}l@{\hspace{-.08cm}}r}\toprule
{Command}&{Example}&{}&{Command}&{Example}&{}
\\\midrule
\Ru\cellpar{\tb iso\tb g\\and \tb giso}  &\giso &  &
\tb \cellpar{apo\tb gD\\and \tb gapo} &\apo\gD &
\\\midrule
\Ru\cellpar{\tb ypo\tb gDD\\\tb gypo} & \gypo&
&
\tb ypokkoli\tb gPA &\ypokkoli\gPA &
\\\midrule
\Ru \cellpar{\tb kkoli\tb gP  and\\ \tb gkkoli}  & \gkkoli & &
\cellpar{\tb  oli\tb gM\\and \tb olig} &\olig &
\\\midrule
\Ru\tb isokkoli\tb gPD  &\isokkoli\gPD &  &
\tb xamkkoli\tb gPD &\xamkkoli\gPD  &
\\\midrule
\Ru\tb apokkoli\tb gPD &\apokkoli\gPD &  &
\tb elakkoli\tb gPD 
&\elakkoli\gPD &
\\\midrule
\Ru  \tb isoapo\tb gDD &\isoapo\gDD &  &
\cellpar{\tb oli\tb g\tb k  and\\ \tb golik} &\oli\g\k  &
\\\midrule
\Ru\cellpar{\tb ela\tb g \\and \tb gela}&\gela& &
\cellpar{\tb apo\tb gMD\\and \tb apog} &\apo\gMD &
\\\midrule
\Ru\cellpar{\tb  kk\tb gMD\\and \tb kkg}  &\kk\gMD &  &
\cellpar{\tb xam\tb gD\\and \tb gxam} &\xam\gD &
\\\midrule
	\Ru\cellpar{\tb  xam\tb gMD\\and \tb xamg} &\xam\gMD &  &
\cellpar{\tb  gapo and με t\\\tb gapo\tb tMD \\and \tb gapot} &\gapo and \gapot&
\\\midrule
\Ru\tb kkoli\tb ggP   &\kkoli\ggP &  &
\tb  kkoli\tb gggP &\kkoli\gggP &
\\\midrule
\Ru\tb ypo\tb pggDD &\ypo\pggDD &&
\tb ypo\tb ggDD &\ypo\ggDD &
\\\midrule 
\Ru\tb  ypo\tb pgggDD &\ypo\pgggDD &  &
\tb ypo\tb gggDD &\ypo\gggDD & 
\\\midrule
\Ru\tb ypokkoli\tb gggPA &\ypokkoli\gggPA &  &
\tb ypo\tb ggpDD &\ypo\ggpDD &
\\\midrule
\Ru\tb ypo\tb gggpDD  &\ypo\gggpDD &&
\tb ypokkoxe\tb gPA &\ypokkoxe\gPA &
\\\midrule
\Ru\tb ypokkoxe\tb ggPA &\ypokkoxe\ggPA &&
\tb ypokkoxe\tb gggPA &\ypokkoxe\gggPA &
\\\midrule
\Ru \tb gIV & \iso\gIV& &
\tb gV &\iso\gV &
\\\midrule
\Ru \tb gVI &\iso \gVI& &
\tb gVII &\iso\gVII &
\\\midrule
\multicolumn{6}{c}{Difficult cases}
\\\midrule
\Ru\cellpar{\tb apoapog  and\\ \tb apogapo} & \apogapo
& &
\tb  elag &\elag &
\\\midrule
\Ru\tb elaapog  &\elaapog &  &
\cellpar{\tb elaapogp  and\\ \tb elaapopg} &\elaapogp and \elaapopg
&
\\\midrule
\Ru\tb xamelaapog    &\xamelaapog &  &
\tb gkkypsoli &\gkkypsoli &
\\\midrule \Ru\tb gxamelaapo &\gxamelaapo &&
\tb ypog&\ypog&
\\\midrule \Ru\tb synelagkkoli &\synelagkkoli &&
 & &
\\\midrule
\end{longtable}
\subsection{The argon, diargon and triargon}
\begin{longtable}{l@{\hspace{-.08cm}}l@{\hspace{-.08cm}}r|l@{\hspace{-0.08cm}}l@{\hspace{-.08cm}}r}\toprule
{Command}&{Example}&{}&{Command}&{Example}&{}
\\\midrule \Ru\cellpar{\tb arg} & \iso\arg& &
\cellpar{\tb diaD} &\iso\diaD&
\\\midrule \Ru\tb tri &\iso\tri&&
\tb dia &\iso\dia&
\\\midrule
\Ru \tb parg & \iso\parg& &
\tb argp & \iso\argp&
\\\midrule
\Ru \tb diap & \iso\diap& &
 \tb pdia &\iso\pdia&
 \\\midrule
\Ru \tb trip & \iso\trip &&
 \tb ptri &\iso\ptri&
 \\\midrule
 \end{longtable}
 \subsection{The cross, apostrophe (breathings) and corona}
 These commands are always placed on the right side of a composition.
 \begin{longtable}{l@{\hspace{-.08cm}}l@{\hspace{-.08cm}}r|l@{\hspace{-0.08cm}}l@{\hspace{-.08cm}}r}\toprule
{Command}&{Example}&{}&{Command}&{Example}&{}
\\\midrule
 \Ru \tb sta &\iso\sta & &
  \cellpar{\tb staP and \\\tb staD} & \iso\staD&
\\\midrule\Ru \cellpar{breath sign\\\tb ana} &\iso\ana& &
&&
\\\midrule
\Ru \cellpar{corona \\\tb kor}&\iso\kor& &
 \tb korD &\oli\korD &
\\\midrule
\Ru \tb korP& \iso\korP& &
 \tb korPD & \iso\korPD&
\\\midrule
\end{longtable}
\subsection{\ \ Measures and bars} The bars are  denoted with the letter l or L depending on their heights. The yfe as an additional indicator is used when we want to put a small hyphen on a bar (as in the case of συνεπτυγμένου rhythm).  We use latin numberin to indicate the  measures like \tb VII. We should be careful because the capital I is used for  counting while the l ie. the small L  is reserved for the bars. The bars are always inserted  in the right side of our composition even if they end with an A sign. Alternatively, we can use the \tb th along with some indicators for the bars and measures (as mentioned above) in order to  place them uniformly before the musical characters eg. \tb LIIIth

 \subsubsection*{Example:}
\tb iso\tb l\tb VIII $\Rightarrow$ \iso\l\VIII\vspace{1em}
 \begin{longtable}{l@{\hspace{-.08cm}}l@{\hspace{-.08cm}}r|l@{\hspace{-0.08cm}}l@{\hspace{-.08cm}}r}\toprule
{Command}&{Example}&{}&{Command}&{Example}&{}
\\\midrule 
\Ru\cellpar{\tb lA}&\iso\lA&&
\cellpar{\tb lMD} &\iso\lMD and \ypo\lMD &
\\\midrule
\Ru &&&
\tb llA&\iso\llA&
\\\midrule \Ru\tb l &\iso\l&&
\tb ll&\iso\ll&
\\\midrule \Ru\tb lyfe &\iso\lyfe& &
\tb lyfeA&\iso\lyfeA&
\\\midrule \Ru\tb V&\iso\l\V&&
\tb VI&\iso\ll\VI&
\\\midrule \Ru\tb VII&\iso\l\VII&&
\tb VIII&\iso\l\VIII&
\\\midrule \Ru\tb L&\iso\L&&
\tb LL&\iso\LL&
\\\midrule \Ru \tb Lyfe&\iso\Lyfe&&
\tb II&\iso\II&
\\\midrule \Ru \tb IIA &\iso\IIA&&
\tb III&\iso\III&
\\\midrule \Ru \tb IIIA &\iso\IIIA&&
\tb IV&\iso\IV&
\\\midrule \Ru \tb IVA &\iso\IVA&&
\tb VA&\iso\VA&
\\\midrule \Ru \tb VIA&\iso\VIA&&
\tb VIIA&\iso\VIIA&
\\\midrule \Ru \tb  VIIIA&\iso\VIIIA &&
&&
\\\midrule
\end{longtable}

\subsection{\ \ Sharps and  flats} Sharps(\tb d) and  flats(\tb 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.
 \begin{longtable}{l@{\hspace{-.08cm}}l@{\hspace{-.08cm}}r|l@{\hspace{-0.08cm}}l@{\hspace{-.08cm}}r}\toprule
{Command}&{Example}&{}&{Command}&{Example}&{}
\\\midrule \Ru\cellpar{\tb y} &\iso\y&&
\cellpar{\tb yD} &\iso\yD&
\\\midrule \Ru\tb yl &\iso\yl&&
\tb  ylD &\iso\ylD&
\\\midrule \Ru\tb yll &\iso\yll &&
\tb  yllD &\iso\yllD &
\\\midrule \Ru\tb ylll &\iso\ylll &&
\tb  yllD &\iso\ylllD &
\\\midrule \Ru\tb dM &\iso\dM &&
\tb  dMD&\iso\dMD&
\\\midrule \Ru\tb dlM&\iso\dlM& &
\tb  dlMD &\iso\dlMD &
\\\midrule \Ru\tb dllM&\iso\dllM&&
\tb  dllMD&\iso\dllMD &
\\\midrule \Ru\tb dlllM &\iso\dlllM&&
\tb  dlllMD&\iso\dlllMD &
\\\midrule
\multicolumn{6}{c}{Difficult cases }
\\\midrule \Ru \tb elad&\elad& &
& & 
\\\midrule
\end{longtable}
\subsection{\ \ 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 \tb marts command, while those ending in K (= bottom) always come to the right argument. The letter \R{b} denotes a martyria  of soft chromatic genus and the letter \R{plab} of hard crhomatic genus. The mark \R{dia} is used   for diatonic matyries and \R{ton} when we must incert an accent on a letter. All complex martyries are made by the use of the command \tb marts.
 \subsubsection*{Example:} 
  \noindent\tb marts[\tb pa][\tb paplab] $\Rightarrow$  \marts[\pa][\paplab]\\
  \tb marts[\tb nhdia][\tb gak] $\Rightarrow$ \marts[\nhdiaa][\gak]
  \\
 \tb marts[\tb di][\tb rbox[-0.8]\{\tb yD\}] $\Rightarrow$  \marts[\di][\rbox[-0.8]{\yD}] \\[1em]
In the following list the comand of interest has been enclosed in parenthesis  to distinguish it from the example to its right.
  
\begin{longtable}{l@{\hspace{-.08cm}}l@{\hspace{-0.08cm}}r|l@{\hspace{-0.08cm}}l@{\hspace{-.08cm}}r}
\toprule
{Command}&{Example}&{}&{Command}&{Example}&{}
\\\midrule \Ru\tb pa &(\pa) \marts[\pa][\padia] & &
\tb boy &\boy &
\\\midrule \Ru \cellpar{\tb ga} &\ga &&
\tb di   &\di &
\\\midrule \Ru \tb ke &\ke &&
\tb zw&\zw &
\\\midrule \Ru \tb nh &\nh &&
\cellpar{πα with accent\\\tb paton} &\paton &
\\\midrule \Ru \tb boyton &\boyton &&
\tb gaton &\gaton &
\\\midrule \Ru\tb diton &\diton &&
\tb keton & \keton &
\\\midrule
\Ru \cellpar{\tb dik} &(\dik) \marts[\padiaa][\dik]&
&
\cellpar{\tb kek}&(\kek) \marts[\paplaba][\kek]&  
\\\midrule
\Ru \cellpar{\tb gak}&(\gak) \marts[\nhdiaa][\gak] &&
\tb boydiaa  &(\boydiaa) \marts[\boydiaa][\dik]&
\\\midrule
\Ru \tb paplaba &(\paplaba) \marts[\paplaba ][\kek]& &
\cellpar{\tb paplabk and \\\tb paplab}  &(\paplab)  \marts[\pa][\paplab]&
\\\midrule
\Ru \cellpar{\tb nhdiak and \\\tb nhdia} & (\nhdiak)\marts[\di][\nhdia]&
&
\tb nhdiaa&(\nhdiaa)   \marts[\nhdiaa][\dik]&
\\\midrule
\Ru \tb padiaa &(\padiaa) \marts[\padiaa][\dik]&&
\cellpar{\tb padiak and \\\tb padia} &(\padiak) \marts[\pa][\padiak]&
\\\midrule
\Ru gadiaa &(\gadiaa)\marts[\gadiaa][\gak]& &
  \cellpar{\tb gadiak and \\\tb gadia } &(\gadia) \marts[\ga][\gadiak]&
\\\midrule
\Ru\tb  didia &(\didia) \marts[\di][\didia]&
&
\Ru \cellpar{\tb boydia  and\\ \tb boydiak} &(\boydia) \marts[\boy][\boydiak]&
\\\midrule
\Ru \cellpar{\tb diplabk and \\\tb diplab} &(\diplab) \marts[\di][\diplab]&&
\tb diplaba &(\diplaba) \marts[\diplaba][\dik]&
\\\midrule
\Ru \cellpar{\tb zwdiak \\and \tb zwdia} &(\zwdiak) \marts[\zw][\zwdiak]&&
\cellpar{\tb dibk, \tb nhbk and \\\tb dib} &(\dib) \marts[\di][\dib]&
\\\midrule
\Ru \cellpar{\tb kedia  and\\ \tb kediak} &(\kediak) \marts[\di][\kedia] &&
\cellpar{thema aploun \\\tb tha} &(\tha) \marts[\di][\tha]&
\\\midrule
\Ru \cellpar{\tb kebk, \tb nhtonbk, \\and \tb pab, \tb keb, \tb nhtonb} &(\keb) \marts[\ke][\keb]&&
&&
\\\midrule
 \Ru\tb gaD &\iso\gaD&&
\tb diD  &\iso\diD&
\\\midrule
 \Ru\tb keD &\iso\keD &&
\tb zwD  &\iso\zwD&
\\\midrule
 \Ru\tb nhD &\iso\nhD &&
\tb  paD &\iso\paD&
\\\midrule
 \Ru\tb boyD &\iso\boyD &&
\tb  paMA  &\iso\paMA&
\\\midrule
 \Ru\tb diMA &\iso\diMA &&
\tb  gaA &\iso\gaA&
\\\midrule
 \Ru\tb diA &\iso\diA &&
\tb  keA  &\iso\keA&
\\\midrule
 \Ru\tb zwA &\iso\zwA &&
\tb  nhA  &\iso\nhA&
\\\midrule
 \Ru\tb paA & \iso\paA&&
\tb  boyA&  \iso\boyA&
\end{longtable}

\subsection{\ \ 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, \tb nhdiam is the shortcut for \tb \R{nh}nhdiam. 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{longtable}{l@{\hspace{-.07cm}}l@{\hspace{-.07cm}}r|l@{\hspace{-0.07cm}}l@{\hspace{-.07cm}}r}\toprule
{Command}&{Example}&{}&{Command}&{Example}&{}
\\\midrule
\Ru \tb nhdiam &\nhdiam & &
\tb padiam &\padiam &
\\\midrule \Ru \cellpar{\tb zwdiam (and \\\tb zwzwdiam)}&\zwzwdiam & &
\tb boydiam &\boydiam 
\\\midrule
\Ru \tb gadiam &\gadiam & &
\tb didiam &\didiam &
\\\midrule
\Ru \tb kediam &\kediam & &
\cellpar{\tb zwtondiam (and \\\tb zwtonboydiam)} &\zwtondiam &
\\\midrule
\Ru \cellpar{\tb nhtondiam(and \\\tb nhtongadiam)} &\nhtondiam & &
\tb patondiam &\patondiam &
\\\midrule
\Ru \tb boytondiam &\boytondiam & &
\tb gatondiam &\gatondiam &
\\\midrule
\Ru \tb ditondiam &\ditondiam & &
\tb ketondiam&\ketondiam &
\\\midrule
\Ru \tb zwtontondiam &\zwtontondiam & &
\tb nhtontondiam&\nhtontondiam &
\\\midrule
\Ru\cellpar{diat. martyria \\lowest ke  \tb kekdiam\\(and \tb padiakem)} &\kekdiam & &
\cellpar{diat. martyria\\lowest di \tb dikdiam\\(and \tb nhdiadim)}&\dikdiam &
\\\midrule
\Ru\cellpar{diat. martyria\\lowest ga \tb gakdiam\\(and \tb gadiagam)} &\gadiagam & &
\cellpar{diat. martyria\\lowest bou \tb boykdiam ( and\\  \tb boydiaboym)}&\boykdiam &
\\\midrule
\Ru\cellpar{diat. martyria \\lowest pa \tb pakdiam\\(and \tb padiapam)} &\pakdiam & &
\cellpar{diat. martyria\\lowest ni\tb nhkdiam ( and\\  \tb nhdianhm)}&\nhkdiam &
\\\midrule
\Ru \cellpar{plagal 2nd mode \\pa \tb paplabm}&\paplabm & &\cellpar{plagal 2nd mode \\bou \tb boyplabm}&\boyplabm 
&
\\\midrule
\Ru \cellpar{plagal 2nd mode \\ga \tb gaplabm}&\gaplabm & &\cellpar{plagal 2nd mode \\di \tb diplabm}&\diplabm
&
\\\midrule
\Ru \cellpar{plagal 2nd mode \\ke \tb keplabm}&\keplabm & &\cellpar{plagal 2nd mode\\upper zo \tb zwtonplabm}&\zwtonplabm 
&
\\\midrule
\Ru \cellpar{plagal 2nd mode \\ni \tb nhtonplabm}&\nhtonplabm & &\cellpar{plagal 2nd mode\\upper pa \tb patonplabm}&\patonplabm 
&
\\\midrule
\Ru \tb digadiam &\digadiam &&
\cellpar{2nd mode \\ni \tb nhbm}&\nhbm &
\\\midrule
\Ru \cellpar{2nd mode \\pa \tb pabm}&\pabm & &
\cellpar{2nd mode \\bou \tb boybm} &\boybm &
\\\midrule
\Ru \cellpar{2nd mode\\ga \tb gabm} &\gabm &&
\cellpar{2nd mode. \\di \tb dibm} &\dibm &
\\\midrule
\Ru \cellpar{2nd mode \\ke \tb kebm} &\kebm &&
\cellpar{2nd mode \\upper zo \tb zwtonbm} &\zwtonbm &
\\\midrule \Ru\cellpar{2nd mode \\upper ni \tb nhtonbm} &\nhtonbm &&
\tb nhtondiplabm &\nhtondiplabm &
\\\midrule
\Ru \cellpar{Ench. mode \\ni \tb nhgadiam} &\nhgadiam &&
\cellpar{Ench. mode \\πα \tb panhdiam} &\panhdiam &
\\\midrule
\Ru \cellpar{Ench. mode \\bou \tb boypadiam} &\boypadiam &&
\cellpar{Ench. mode. \\upper zo \tb zwtongadiam} &\zwtongadiam &
\\\midrule
\Ru \cellpar{Ench. mode \\upper ni \tb nhtondidiam} &\nhtondidiam &&
\cellpar{Ench. mode. \\bou \tb boytongadiam} &\boytongadiam &
\\\midrule
\end{longtable}


\subsection{\ \ Initial martyries of modes}The initial  martyries of modes  always end in the letter h to be  distinguished easily. The modes first, second, third, fourth and baris are marked respectively with symbols \tb ahxo, \tb bhxo, \tb ghxo, \tb dhxo and \tb barhxo. We have already built most of them so there will probably be no need for the construction of a new martyria. The command \tb tesh makes a symbol resembling the number  four and  is always positioned to  the right in the construction of an initial martyria.

 \subsubsection*{Example:} \noindent
 \tb kediah\tb bm[\tb tesh, 0.1]$\Rightarrow$ \kediah\bm[\tesh, 0.1]\\
   \tb synelah\tb gaboydiah\tb tosh $\Rightarrow$  \synelah\gaboydiah\tosh\\
   \tb lph\tb kediah\tb rbox[-0.2]\{\tb kediaypsolikeh\} $\Rightarrow$ \lph\kediah\rbox[-0.2]{\kediaypsolikeh}\\
\tb zwh\tb ypskolizwdiah  $\Rightarrow$  \zwh\ypskolizwdiah\\
   \tb teskediah\tb kediakeh  $\Rightarrow$  \teskediah\kediakeh \\
   \tb padiaypsolih \tb keh $\Rightarrow$  \padiaypsolih \keh, 
\tb boydiah\tb tosh $\Rightarrow$  \boydiah\tosh\\
 \tb synelah\tb boyh  $\Rightarrow$ \synelah\boyh, 
  \tb pah\tb paplabfPD $\Rightarrow$  \pah\paplabfPD 
 \vspace{1em}
\begin{longtable}{l@{\hspace{-.07cm}}l@{\hspace{-.07cm}}r|l@{\hspace{-0.07cm}}l@{\hspace{-.07cm}}r}\toprule
{Command}&{Example}&{}&{Command}&{Example}&{}
\\\midrule
\\\midrule 
\Ru \cellpar{\tb plah}&\plah&&
\cellpar{\tb hxoh  and\\  \tb hxosh}&\hxoh &
\\\midrule 
\Ru \tb atonh&\atonh &&
\tb btonh&\btonh &
\\\midrule 
\Ru \tb gtonh&\gtonh &&
\tb dtonh&\dtonh&
\\\midrule 
\Ru \tb amtonh&\amtonh&&
\tb bmtonh &\bmtonh &
\\\midrule 
\Ru \tb gmtonh &\gmtonh &&
\tb dmtonh&\dmtonh &
\\\midrule 
\Ru \tb tosh&\tosh &&
\tb barysh &\barysh &
\\\midrule 
\Ru \tb dhxoh&\dhxoh &&
\tb didiah&\didiah &
\\\midrule 
\Ru \tb ahxoh&\ahxoh&&
\tb kediah&\kediah&
\\\midrule 
\Ru \tb bhxoh&\bhxoh&&
\tb dibh&\dibh&
\\\midrule 
\Ru \tb barhxoh&\barhxoh&&
 \cellpar{\tb ttghxoh}             &\ttghxoh&
\\\midrule 
\Ru \cellpar{\tb ghxoh}&\ghxoh&&
\tb olikkh&\olikkh&
\\\midrule 
\Ru \tb paplabpahxoh&\paplabpahxoh & &\cellpar{\tb tesh}&\kediah\bm[\tesh,0.1]&
\\\midrule 
\Ru \tb dibdihxoh&\dibdihxoh & &
\cellpar{\tb boybboyhxoh and \\\tb dibboyhxoh} &\dibboyhxoh&
\\\midrule 
\Ru \tb gah&\gah & &
\tb dih&\dih&
\\\midrule 
\Ru \tb keh&\keh & &
\tb zwh&\zwh&
\\\midrule 
\Ru \tb nhh&\nhh & &
\tb pah&\pah&
\\\midrule 
\Ru \tb boyh&\boyh &&
 \tb padiah&\padiah &
\\\midrule
\multicolumn{6}{c}{Some useful combinations}
\\\midrule
\Ru \tb nhdianhh&\nhdianhh&&
\tb nhdiagah&\nhdiagah&
\\\midrule 
\Ru \tb didiadih&\didiadih &&
\tb tesdidiah&\tesdidiah&
\\\midrule \Ru \tb diplabtesdidiah&\diplabtesdidiah&&
\tb dibdih&\dibdih&
\\\midrule \Ru \cellpar{\tb dibboyh  and\\ \tb  boybboyh}&\dibboyh & &
 \tb  gaboydiah&\gaboydiah&
\\\midrule \Ru \tb dibdididiah &\dibdididiah & &
\tb kediaypsolikeh &\kediaypsolikeh&
\\\midrule \Ru \tb barhxozwyh&\barhxozwyh &&
\cellpar{\tb ypskolizwyh\\and \tb ypskzwyolih}&\ypskzwyolih &
\\\midrule
\Ru  \tb padiapah & \padiapah&&
\cellpar{\tb pah\tb paplabfPD  and\\ \tb paplabpah} & \paplabpah&
\\\midrule
\Ru \cellpar{\tb kolinhdiah\\and \tb knhdiaolih} &\knhdiaolih &&      
\cellpar{\tb ypskolizwdiah\\and \tb ypskzwdiaolih}&\ypskzwdiaolih &
\\\midrule
\Ru \tb kediakeh&\kediakeh &&
\cellpar{\tb kolidiplabh\\and \tb kdiplabolih}&\kdiplabolih&
\\\midrule
\Ru \tb dibdidibh &\dibdidibh&&
\tb padiaypsolih&\padiaypsolih &
\\\midrule
\Ru \cellpar{\tb dibkolih\\and \tb kdibolih } &\kdibolih&
&\cellpar{\tb ypskoligadiah\\and \tb ypskgadiaolih} &\ypskgadiaolih
\\\midrule
\Ru\tb boydiah &\boydiah &&
\tb koligadiah&\koligadiah
\\\midrule
\Ru \cellpar{\tb kolidiplabgadiah\\and 
\tb kdiplaboligadiah} &\kdiplaboligadiah&&
\tb synelah &\synelah  &
\\\midrule
\Ru \tb gagadiah &\gagadiah & &
\tb ypskh &\ypskh &
\\\midrule
\Ru \tb ypskdidiah&\ypskdidiah&&
\tb ypskkediah&\ypskkediah&
\\\midrule
\end{longtable}
\subsection{\ \ \protect\ne, \protect\n{}  symbols and symbols for isokratimata}
The ne(\tb ne), na(\tb n), arrow pointing up(\tb bela) or downwards(\tb belk) ) and the diphthong th(\tb oy)  are positioned with the help of \tb s over the musical characters.

  \subsubsection*{Example:} \noindent
 \Ru\tb th\{\tb s[(M)][\tb iso]\}[] $\Rightarrow$ \th{\s[(Μ)][\iso]}[]\\
{\fontisokrathma ΔΙ} \tb belk $\Rightarrow$ {\fontisokrathma ΔΙ\belk}, {\fontisokrathma ΔΙ} \tb bela $\Rightarrow$ {\fontisokrathma  ΔΙ\bela} \\
({\fontisokrathma ΝΗ-Β}\tb oy)  $\Rightarrow$ {\fontisokrathma (ΝΗ-Β\oy)}
\\  \tb n η $\Rightarrow$ \n η and 
\tb ne ε $\Rightarrow$\ne ε\vspace{1em}
\subsection{\ \ Tempo signatures}
  Tempos are  divided  into slow (marked as b), and fast (marked as x). The P denotes  the upper position while the mchi denotes the Greek letter \R{chi} which is  s\R{m}all. The tempos ending in P are always placed to  the right in the construction of combinations. To properly place the tempos we have to use the  \tb xrs command in combination with the mchi commands.
  \subsubsection*{Example:} \noindent
  \tb th\{\tb xrs[\tb bbbmchi][\tb dibm]\}[] \keno[2] \th{\xrs[\bbbmchi][\dibm]}[] \\

  The use of tempo commands ending in  P should generally be avoided because they do not always give satisfactory results:
  \\\tb dibm\tb bbbmchiP $\Rightarrow$ \dibm\bbbmchiP\vspace{1em}

\begin{longtable}{l@{\hspace{-.07cm}}l@{\hspace{-.07cm}}r|l@{\hspace{-0.07cm}}l@{\hspace{-.07cm}}r}\toprule
{Command}&{Example}&{}&{Command}&{Example}&{}
\\\midrule \Ru\cellpar{\tb bbbmchiP}&\bbbmchiP&&
\cellpar{\tb bbbmegachi}&\bbbmegachi&
\\\midrule \Ru\tb bbmegachi&\bbmegachi&&
\tb bmchiP&\bmchiP&
\\\midrule \Ru\tb bmegachi&\bmegachi&&
\tb bxmchiP&\bxmchiP&
\\\midrule \Ru\tb bxmegachi&\bxmegachi&&
\tb xmchiP&\nhtondiplabm\xmchiP&
\\\midrule \Ru\tb xmegachi&\xmegachi&&
\tb xxmchiP&\xxmchiP&
\\\midrule \Ru\tb xxmegachi&\xxmegachi&&
\tb xxxmchiP&\xxxmchiP&
\\\midrule \Ru\tb xxxmegachi&\xxxmegachi&&
\tb bbmchiP&\bbmchiP&
\\\midrule\Ru \tb bbbmchi &\bbbmchi&&
\tb bbmchi&\bbmchi&
\\\midrule\Ru \tb bmchi&\bmchi&&
\tb bxmchi&\bxmchi&
\\\midrule\Ru \tb xmchi&\xmchi&&
\tb xxmchi&\xxmchi&
\\\midrule\Ru \tb xxxmchi&\xxxmchi&&
\tb mchi &\mchi& 
%\tb xxmchi&\xxmchi&
\\\midrule\Ru \tb megachi&\megachi&&
&& 
\\\midrule
\end{longtable}
\subsection{\ \ Fthores(destroyers) and chroes(chromatic signs) }
 All martyries and  chroes end with the letter f to distinguish them from the other symbols. Their default color is red. Most of the fthores names have additional signs like M, MD on their right. If there is no such  indicator then the  symbol is positioned on  the upper middle  of a  big symbol(ie. one having the same length as the  \tb iso symbol).

\begin{longtable}{l@{\hspace{-.08cm}}l@{\hspace{-0.08cm}}r|l@{\hspace{-0.08cm}}l@{\hspace{-.08cm}}r}
\toprule
{Command}&{Example}&{}&{Command}&{Example}&{}
 \\\midrule
\Ru \cellpar{spathi to the right \\\tb spafD, \tb spaD} && \iso\spaD&
\cellpar{Πα plagal 2nd mode\\\tb paplabfD\\and \tb keplabfD} & & \iso\paplabfD
\\\midrule
\Ru \cellpar{Di 2nd mode\\\tb dibfD  and\\ 
\tb nhbfD  and\\ 
\tb boybfD} & & \iso\boybfD &
\cellpar{ ke (and upper ni) 2nd mode
\\\tb kebfD, %
\\\tb nhanwbfD\\and \tb pabfD } & & \iso\pabfD
\\\midrule
\Ru \cellpar{Di plagal 2nd \\ mode\tb diplabfD} & & \iso\diplabfD &
\cellpar{geneki yfesi\\\tb gyfD, \tb gyD} & & \iso\gyfD
\\\midrule
\Ru \cellpar{zygos to the right\\\tb zygfD,\tb zygD} & & \iso\zygD &
\cellpar{kliton  to the right\\\tb klifD,\tb kliD} &&\iso\kliD
\\\midrule
\Ru \cellpar{geniki diesi\\\tb gdfD,\tb gdD} && \iso\gdD &
\cellpar{upper zo or ga  geniki yfesi\\\tb zwyfD,\tb zwyD, \\\tb gayfD, gayD} && \iso\zwyD
\\\midrule
\Ru \cellpar{thema aploun\\\tb thaf} & &\iso\thaf&
\cellpar{thema aploun \\under iso\tb thafM,\tb thaM} & & \iso\thaM
\\\midrule
\Ru \cellpar{diatonic ni\\tb nhdiafD} & & \iso\nhdiafD&
\cellpar{diatonic pa\\\tb padiafD} & & \iso\padiafD
\\\midrule
\Ru \cellpar{diatonic bou\\\tb boydiafD} & &\iso\boydiafD &
\cellpar{diatonic ga\\\tb gadiafD} & &\iso\gadiafD
\\\midrule
\Ru \cellpar{diatonic di\\\tb didiafD} && \iso\didiafD &
\cellpar{diatonic ke\\\tb kediafD} & &\iso\kediafD 
\\\midrule
\Ru \cellpar{diatonic upper zo\\\tb zwdiafD} & & \iso\zwdiafD&
\cellpar{diatonic upper  ni\\\tb nhanwdiafD} & & \iso\nhanwdiafD
\\\midrule
\Ru \cellpar{diat. ni\\under iso\tb nhanwdiaf}&   &\iso\nhanwdiaf &
 \cellpar{diat. upper ni\\under iso  \tb nhanwdiafMD}&& \iso\nhanwdiafMD
\\\midrule
\end{longtable}
\subsection{\ \ Polytonic texts}
In the list below we used the impressive "medieval" font \textsf {Junicode} (\url{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 
\tb changetextfont[Junicode] \changetextfont[Junicode] to change the font of the text. 
If the command \R{\tb tildeON} is inserted  somewhere at the beginning of our text (before we start writing polytonic) then it is necessary \R{\tildde} 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 \tildde{}  becomes the braces \{\} shortcut. We emphasize this
mandatory  use of \R{\tildde}  in some examples in the list below.
 For additional examples and instructions regarding the package \textsf{greektonoi} one should read the package documentation. The letter ε in  front of some letters provides an  alternative version of them. E.g. \R{\tb ε}θ $\Rightarrow$ \εθ. We need to know that in polytonic text writing some letters have one  form at  the beginning of a word (e.g. the letter \R{β}) and another form  when they are used somewhere in the middle (e.g. \R{\εβ}). The leaf after the end of the table is not an image but a letter of the Junicode font!
\begin{longtable}{l@{\hspace{-.08cm}}l@{\hspace{-.08cm}}r|l@{\hspace{-0.08cm}}l@{\hspace{-.08cm}}r}\toprule
{Command}&{Example}&{}&{Command}&{Example}&{}
\\\midrule
\Ru \tb \R{;} semicolon &&έφυγε\;&
\cellpar{right quotes \\ \tb \R{>>}}& &\>>
\\\midrule
\Ru  
\cellpar{left quotes\\ \tb \R{<<}}& \<<&&
\tb \R{ααπ} left. single quot. mark&\ααπ&
\\\midrule
\Ru \tb \R{π}υ(υ circumflexed)&\πυ& &
\tb \R{β}α(a with grave)& \βα&
\\\midrule
\Ru \tb \R{λ}υ(υ with diairesis)&\λυ&&
\tb \R{μκρ}υ(long υ)& \μκρυ&
\\\midrule
\Ru \cellpar{ \tb βρχυ (υ \R{βρ}α\R{χ}ύ\\ short υ)}&\βρχυ&&
\tb \R{μ}Ω & \μΩ&
\\\midrule
\Ru \tb \R{ψ}α (a smooth breath)&\ψα & &
\tb \R{δ}α  (a rough breath)&\δα &
\\\midrule
\Ru  \tb \R{εβ\tildde}&\εβ&&
\tb \R{εθ\tildde}& \εθ&
\\\midrule
\Ru  \tb \R{εφ\tildde}&\εφ&&
\tb \R{επ\tildde}& \επ&
\\\midrule
\Ru  \tb \R{ερ\tildde}&\ερ&&
\tb \R{εκ\tildde(version of ε)}&\εκ &
\\\midrule
\Ru  \tb \R{εε\tildde}&\εε&&
\cellpar{digamma \\\tb \R{διγ}}& \διγ&
\\\midrule
\Ru  \cellpar{capital koppa\\\tb \R{Κοπ}}&\Κοπ &&
\cellpar{small coppa \\\tb \R{κοπ}}& \κοπ&
\\\midrule
\Ru  \cellpar{capital sampi\\\tb \R{Σαμ}}&\Σαμ &&
\cellpar{small sampi \\\tb \R{σαμ}}& \σαμ&
\\\midrule
\Ru \R{\tb ρρ\tildde} &\ρρ&&
\R{\tb τ} (accute accent)&\τα &
\\\midrule
\end{longtable}
\vspace{1cm}
 \kentro{\thickshape[!][1]{\color{myRed}}} \end{english}\end{byzantinemusic}
\end{document}
