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69695f33 MW |
1 | <HTML> |
2 | <HEAD><TITLE> | |
3 | Bar Lines | |
4 | </TITLE></HEAD> | |
5 | <BODY> | |
6 | <P> | |
7 | <A HREF="altinp.html"><-- previous page</A> | |
8 | ||
9 | <A HREF="index.html">Table of Contents</A> <A HREF="multirst.html">next page --></A> | |
10 | </P> | |
11 | ||
12 | <H2> | |
13 | Bar lines | |
14 | </H2> | |
15 | <P> | |
16 | Each measure must be ended with a "bar" of some kind. There are several kinds: | |
17 | <TABLE BORDER=4> | |
18 | <TR> | |
19 | <TD><B>Keyword</B></TD> <TD><B>Meaning</B></TD> | |
20 | </TR> | |
21 | <TR> | |
22 | <TD>bar</TD> <TD>ordinary bar line</TD> | |
23 | </TR> | |
24 | <TR> | |
25 | <TD>dblbar</TD> <TD>double bar</TD> | |
26 | </TR> | |
27 | <TR> | |
28 | <TD>repeatstart</TD> <TD>beginning of repeated section</TD> | |
29 | </TR> | |
30 | <TR> | |
31 | <TD>repeatboth</TD> <TD>end of one repeated section and beginning of another</TD> | |
32 | </TR> | |
33 | <TR> | |
34 | <TD>repeatend</TD> <TD>end of repeated section</TD> | |
35 | </TR> | |
36 | <TR> | |
37 | <TD>endbar</TD> <TD>heavy double bar line used at end of song</TD> | |
38 | </TR> | |
39 | <TR> | |
40 | <TD>invisbar</TD> <TD>no bar line printed</TD> | |
41 | </TR> | |
42 | <TR> | |
43 | <TD>restart</TD> <TD>end staffs and begin anew</TD> | |
44 | </TR> | |
45 | </TABLE> | |
46 | ||
47 | </P> | |
48 | <P> | |
49 | In addition, the bar and dblbar types can be preceded | |
50 | by the word "dashed" or "dotted" to produce dashed or dotted bar lines. | |
51 | </P> | |
52 | <P> | |
53 | <BR><PRE> | |
54 | 1: mr; | |
55 | bar | |
56 | 1: mr; | |
57 | dblbar | |
58 | 1: mr; | |
59 | dashed bar | |
60 | 1: mr; | |
61 | dotted dblbar | |
62 | 1: mr; | |
63 | repeatstart | |
64 | 1: mr; | |
65 | repeatboth | |
66 | 1: mr; | |
67 | repeatend | |
68 | 1: mr; | |
69 | endbar | |
70 | </PRE><BR> | |
71 | <IMG SRC="mugex36.gif" ALT="Picture of Mup output"><BR> | |
72 | </P> | |
73 | <P> | |
74 | When a repeatstart would end up at the end of a score, | |
75 | it will automatically get moved to the beginning of the following score. | |
76 | In that case, it isn't clear what kind of bar line you would like to | |
77 | have put at the end of the original score. By default, Mup will use | |
78 | an ordinary bar, but in some cases--like if the repeatstart begins | |
79 | a new section, or there is also a key change--you might want to have | |
80 | a dblbar instead. You can get a dblbar there by specifying dblbar in | |
81 | parentheses before the repeatstart: | |
82 | <BR><PRE> | |
83 | (dblbar) repeatstart | |
84 | </PRE><BR> | |
85 | Actually, you are allowed to specify any bar type in the parentheses, | |
86 | but dblbar or possibly invisbar are probably the only ones likely to be useful. | |
87 | If the repeatstart ends up in the middle of a score, so that it doesn't | |
88 | need to get moved to the beginning of the next score, the parenthesized | |
89 | bar type is not needed, so it is just ignored. | |
90 | </P> | |
91 | <P> | |
92 | Sometimes music is printed without bar lines. The "invisbar" can be used in | |
93 | this case, to fulfill Mup's requirement to specify some sort of bar after | |
94 | every measure without actually printing bar lines. | |
95 | </P> | |
96 | <P> | |
97 | <A NAME="restart">The restart is a special kind of bar. It follows immediately after another</A> | |
98 | bar line without any intervening music data. (That is, you can't have | |
99 | any notes. You can use score or staff context things, like changing time or | |
100 | key signature.) It would be most commonly used for something like a short coda. | |
101 | <BR><PRE> | |
102 | score | |
103 | staffs=2 | |
104 | brace=1-2 | |
105 | staff 2 | |
106 | clef=bass | |
107 | music | |
108 | ||
109 | 1-2: c;d;e;f; | |
110 | rom above 1: 3 "D.C. al Coda"; | |
111 | dblbar | |
112 | ||
113 | // The restart follows a bar | |
114 | // without any music data in between. | |
115 | restart | |
116 | ||
117 | rom above 1: 1 "Coda"; | |
118 | 1-2: f;e;d;c; | |
119 | endbar | |
120 | </PRE><BR> | |
121 | <IMG SRC="mugex37.gif" ALT="Picture of Mup output"><BR> | |
122 | </P> | |
123 | <P> | |
124 | There are several optional directives that can follow the bar line keyword. | |
125 | They can be specified in any order and are described below. | |
126 | </P> | |
127 | <H3> | |
128 | Bar line padding | |
129 | </H3> | |
130 | <P> | |
131 | <A NAME="bpad">One optional directive is padding.</A> | |
132 | It can be used to force Mup to place extra white space to | |
133 | the left of the bar line. It is specified by the keyword "pad" followed | |
134 | by a number of stepsizes of padding to add. For example: | |
135 | <BR><PRE> | |
136 | dblbar pad 3 | |
137 | </PRE><BR> | |
138 | would add 3 stepsizes of padding. | |
139 | </P> | |
140 | <H3> | |
141 | Bar line location tag | |
142 | </H3> | |
143 | <P> | |
144 | <A NAME="btag">It is also possible to associate a</A> | |
145 | <A HREF="tags.html">location tag</A> | |
146 | with a bar line. | |
147 | For example: | |
148 | <BR><PRE> | |
149 | // Associate tag "_bar6" with bar line | |
150 | bar =_bar6 | |
151 | ||
152 | // Do double bar with an extra stepsize of | |
153 | // padding, and associate tag "q" | |
154 | // with the bar line | |
155 | dblbar pad 1 =q | |
156 | </PRE><BR> | |
157 | </P> | |
158 | <P> | |
159 | The y coordinate of a bar line is not very useful. Special rules apply if | |
160 | a bar line happens to be placed at the end of a score. Any locations taken | |
161 | relative to the bar that would be to the right of the bar are treated as | |
162 | if the bar line were at the beginning of the following score, | |
163 | just beyond the clef and time and key signatures, if any. | |
164 | </P> | |
165 | <H3> | |
166 | Endings | |
167 | </H3> | |
168 | <P> | |
169 | <A NAME="endings">First and second endings, etc. can be designated at bar lines.</A> | |
170 | This is done with the keyword "ending," followed by a | |
171 | quoted string to use as the label for the ending that should begin at the | |
172 | bar line. An ending will span bars until either another ending is specified, | |
173 | the piece ends, or the | |
174 | special keyword "endending" is used. Examples: | |
175 | <BR><PRE> | |
176 | bar ending "1." | |
177 | repeatend ending "2-3" | |
178 | endbar endending | |
179 | </PRE><BR> | |
180 | </P> | |
181 | <P> | |
182 | The ending label will always be | |
183 | forced into 12 point times roman font. If you change font or size or include | |
184 | special characters in the ending label, | |
185 | the output is not likely to be aligned properly. | |
186 | </P> | |
187 | <P> | |
188 | <A HREF="param.html#endingst">The "endingstyle" parameter</A> | |
189 | controls where endings are placed. | |
190 | Endings cannot start at or cross over a restart bar. | |
191 | </P> | |
192 | <H3> | |
193 | Rehearsal marks | |
194 | </H3> | |
195 | <P> | |
196 | <A NAME="reh">Rehearsal letters or numbers</A> | |
197 | can be specified on any bar line. There are four formats: | |
198 | <BR> | |
199 | <B>rehearsal let</B> | |
200 | <BR> | |
201 | <B>rehearsal num</B> | |
202 | <BR> | |
203 | <B>rehearsal mnum</B> | |
204 | <BR> | |
205 | <B>rehearsal "</B><I>label</I><B>"</B> | |
206 | </P> | |
207 | <P> | |
208 | In the first example, a rehearsal letter will be placed on the bar. The | |
209 | first occurrence of this will become rehearsal "A", the next "B", and so | |
210 | forth. The second format works in a similar fashion except that numbers are | |
211 | used rather than letters. With the third format, the current measure | |
212 | number is used. With the last format, any arbitrary string | |
213 | within the quotes will be used. The keyword "rehearsal" can be | |
214 | abbreviated to "reh" if you wish. Only one rehearsal mark is allowed on | |
215 | any one bar, but the types can be mixed throughout the composition. | |
216 | (Note that mixing "num" with "mnum" is likely to be very confusing, however.) | |
217 | The rehearsal marks can be intermixed with other bar options: | |
218 | <BR><PRE> | |
219 | 1: 1c; | |
220 | dblbar reh num ending "1" | |
221 | 1: 1e; | |
222 | repeatend pad 1 =_xyz reh let ending "2." | |
223 | 1: 1g; | |
224 | bar rehearsal "Duet" | |
225 | 1: 1ce; | |
226 | endbar endending | |
227 | </PRE><BR> | |
228 | <IMG SRC="mugex38.gif" ALT="Picture of Mup output"><BR> | |
229 | </P> | |
230 | <P> | |
231 | The rehearsal marks are normally put directly above the bar | |
232 | line. However, if the bar line falls at the end of a score, the rehearsal | |
233 | mark will be placed at the beginning of the following score, after the | |
234 | <A HREF="param.html#clef">clef,</A> | |
235 | <A HREF="param.html#key">key signature,</A> | |
236 | and | |
237 | <A HREF="param.html#time">time signature.</A> | |
238 | <A HREF="param.html#endingst">The "endingstyle" parameter</A> | |
239 | is used to determine which staffs get rehearsal marks. | |
240 | <A HREF="param.html#rehstyle">The "rehstyle" parameter</A> | |
241 | specifies whether to put rehearsal marks inside a box or a circle | |
242 | or leave them plain. | |
243 | </P> | |
244 | <P> | |
245 | The rehearsal keyword may be followed by a specification for <I>fontfamily</I>, | |
246 | <I>font</I>, and/or <B>(</B><I>size</I><B>)</B>. | |
247 | Once specified, these remain in effect | |
248 | for any future rehearsal marks, until explictly changed. Some examples: | |
249 | <BR><PRE> | |
250 | bar rehearsal helvetica bold (14) let | |
251 | repeatend reh newcentury num | |
252 | invisbar reh rom (10) mnum | |
253 | </PRE><BR> | |
254 | </P> | |
255 | <P> | |
256 | After all the options listed above, you may specify "dist <I>N</I>" where | |
257 | <I>N</I> is some number of stepsizes. This will override the | |
258 | <A HREF="param.html#dist">dist parameter</A> | |
259 | for determining how close to the staff to place the rehearsal mark. | |
260 | If the number is followed by a "!" Mup will place the mark exactly | |
261 | that far from the top of the staff, even if it overwrites other things; | |
262 | otherwise the value specifies a minimum distance. | |
263 | <BR><PRE> | |
264 | rehearsal num dist 5 // at least 5 stepsizes away | |
265 | reh bold "A1" dist 2 ! // exactly 2 stepsizes away | |
266 | </PRE><BR> | |
267 | </P> | |
268 | <H3> | |
269 | Setting the measure number | |
270 | </H3> | |
271 | <P> | |
272 | <A NAME="setmnum">Mup keeps track of</A> | |
273 | <A HREF="param.html#measnum">measure numbers</A> | |
274 | automatically, but sometimes you may want | |
275 | to override this to set the current measure number to some specific value. | |
276 | This is done by adding mnum=<I>number</I> on a bar line, | |
277 | which will set the current measure number to the given <I>number</I>. | |
278 | <BR><PRE> | |
279 | // Set the current measure number to 50 | |
280 | dblbar mnum=50 | |
281 | </PRE><BR> | |
282 | </P> | |
283 | <H3> | |
284 | Setting rehearsal letter or number | |
285 | </H3> | |
286 | <P> | |
287 | <A NAME="setreh">If you are using the "rehearsal let" or "rehearsal num" styles,</A> | |
288 | you can set those to specific values too, similarly to how mnum can be set. | |
289 | This might be useful, for example, if you have a single input file that | |
290 | contains multiple songs or movements, and you want the rehearsal marks | |
291 | to start over at the beginning of each song or movement. | |
292 | </P> | |
293 | <P> | |
294 | The rehearsal number can be set on any bar line using num=<I>N</I>, where | |
295 | <I>N</I> is a number, typically 1. | |
296 | <BR><PRE> | |
297 | bar num=1 | |
298 | </PRE><BR> | |
299 | The rehearsal letter can be set in a similar way, using let="<I>X</I>" where | |
300 | <I>X</I> is either a single upper case letter, A to Z, or two upper case | |
301 | letters, AA to ZZ. | |
302 | <BR><PRE> | |
303 | dblbar let="A" reh let | |
304 | </PRE><BR> | |
305 | </P> | |
306 | <H3> | |
307 | Hiding time/key signature and clef changes | |
308 | </H3> | |
309 | <P> | |
310 | <A NAME="hide">Generally in printed music, when a</A> | |
311 | <A HREF="param.html#time">time signature</A> | |
312 | <A HREF="param.html#key">or key signature</A> | |
313 | change occurs at the beginning of a score, these changes are also printed at | |
314 | the very end of the previous score, | |
315 | to make it clear there is a change coming up. | |
316 | Mup normally does this, but occasionally you may not want that behavior. | |
317 | Sometimes you may want to make a new score appear like the beginning | |
318 | of a new piece. If you wish to suppress the printing of time signature, | |
319 | key signature, and clef | |
320 | changes at the end of the preceding score, | |
321 | you can use the "hidechanges" | |
322 | keyword on the bar line at which the changes occur. | |
323 | Hidechanges cannot be used on a restart bar. | |
324 | <BR><PRE> | |
325 | 1: c;d;e;f; | |
326 | bar | |
327 | // change time/key with normal treatment | |
328 | ||
329 | newscore | |
330 | score time=5/4 ; key = 1& | |
331 | music | |
332 | 1: d;e;f;2g; | |
333 | // don't show changes at end of previous score | |
334 | bar hidechanges | |
335 | ||
336 | newscore | |
337 | ||
338 | score time=6/4 ; key = 2# | |
339 | music | |
340 | 1: d;e;f;2.g; | |
341 | bar | |
342 | </PRE><BR> | |
343 | <IMG SRC="mugex39.gif" ALT="Picture of Mup output"><BR> | |
344 | </P> | |
345 | <HR><P> | |
346 | <A HREF="altinp.html"><-- previous page</A> <A HREF="index.html">Table of Contents</A> <A HREF="multirst.html">next page --></A> | |
347 | </P> | |
348 | </BODY></HTML> |