| 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> |
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