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13 Inter-chord attributes
17 <A HREF="chrdattr.html">chord attributes</A>
18 that can appear in the square brackets
19 before time and pitch information, there are a few attributes that are
20 specified after the time and pitch information. These are attributes that
21 start or end on the chord but also affect other chords. There are several
25 <A HREF="ichdattr.html#tie">chord ties</A>
27 <A HREF="ichdattr.html#slur">chord slurs</A>
29 <A HREF="ichdattr.html#custbeam">custom beaming</A>
31 <A HREF="ichdattr.html#crossbm">cross-staff beams</A>
33 <A HREF="ichdattr.html#alt">alternation</A>
35 <A HREF="ichdattr.html#slope">slope</A>
39 If several of these are specified on a single chord, they may be in any
40 order, separated by commas.
46 <A NAME="tie">If all notes in a chord are to be tied to the following chord,</A>
47 the keyword "tie"
48 can be placed at the end of the chord. As was mentioned earlier,
49 <A HREF="noteattr.html#ntie">individual notes can be tied using a "~" symbol.</A>
58 The word "tie" may be preceded by the word "dotted" or "dashed" to
59 produce dotted or dashed ties, otherwise normal, solid ties are drawn.
60 The word "tie" may be followed by the word "up" or "down" to specify the
61 direction of each curve's bulge. If neither is specified, Mup will
62 determine an appropriate direction, so you only need to give a direction
63 if you wish to override Mup's choice.
66 You can also produce the effect of tying chords by using additive time
67 values. For example, the following lines produce the same output:
69 1: 2ceg tie;8;;4; // explicit tie
71 1: 2+8ceg;8;4; // tie implied by added time values
78 <A NAME="slur">The keyword "slur" can be placed at the end of a chord to indicate</A>
79 that each note in the chord is to be slurred to the corresponding
80 note in the following chord. In other words, the top note of the chord
81 is slurred to the top note of the following chord, the second from the
82 top note in the first chord to the second from the top note in the
84 Thus the following 2 measures give equivalent output:
86 1: 2f<d> a<b> c+<d+>; dbd+;
92 <IMG SRC="mugex22.gif" ALT="Picture of Mup output"><BR>
95 The chord with the "slur" keyword
96 and the chord that follows it must have the same number of notes.
97 The word "slur" may be preceded by the word "dotted" or "dashed" to
98 produce dotted or dashed slurs, otherwise normal, solid slurs are drawn.
99 The word "slur" may be followed by the word "up" or "down" to specify the
100 direction of each curve's bulge. If neither is specified, Mup will
101 determine an appropriate direction, so you only need to give a direction
102 if you wish to override Mup's choice.
108 Normally, notes of eighth or shorter duration are automatically beamed
109 according to the specification of
110 <A HREF="param.html#beamstyl">the "beamstyle" parameter.</A>
111 <A NAME="custbeam">Occasionally, you may wish to</A>
112 override the default beaming style for a particular situation.
113 This is done using the "bm" and "ebm" keywords. The "bm" (short for "beam")
114 is placed at the end of the chord which is the first to be beamed.
115 The "ebm" (short for "end beam") is placed at the end of the last chord.
116 Both chords must be in the same measure. If there is any custom beaming
117 specified for a given voice in a given measure, the default beamstyle
118 is turned off for that voice for the entire measure, meaning that only
119 what you explicitly specify to be beamed will be beamed.
122 // The d, e, and f will be beamed together,
123 // but other 8th notes will not be.
124 1: 4c; 8; d bm; e; f ebm; g; a;
127 // First two chords beamed together.
128 // Second chord is tied to third chord.
129 1: 8.fa bm; 16gc+ tie, ebm; 2; 8a; g;
132 <IMG SRC="mugex23.gif" ALT="Picture of Mup output"><BR>
135 In the absence of custom beaming, Mup will beam notes together
137 <A HREF="param.html#beamstyl">beamstyle parameter,</A>
138 if that parameter is set.
139 The beamstyle parameter is a list of time values that add up to
140 a measure. Each time value tells how many chords to beam together.
141 For example, a 2 means to beam a half note worth of chords together,
142 whereas 1.. would indicate that a double dotted whole note worth of
143 chords should be beamed together.
144 Here are some examples of how the beamstyle parameter works.
146 // beam each quarter note worth of notes together,
147 // breaking the beaming at each quarter note boundary
148 score beamstyle = 4,4,4,4
150 1: 8c;d;e;f;g;a;b;c+;
155 // beam each half note worth of notes together,
156 // breaking the beaming at each half note boundary
157 score beamstyle = 2,2
159 1: 8c;d;e;f;g;a;b;c+;
161 // the middle two eighth notes will not be beamed together,
162 // because they are on opposite sides of the half note boundary
166 // beam each whole note worth of notes together
169 1: 8c;d;e;f;g;a;b;c+;
174 // in 9/8 time, beam each dotted quarter note worth of notes together
175 score time = 9/8 ; beamstyle = 4., 4., 4.
177 1: 8c;d;e;d;e;f;e;f;g;
179 // the eight notes will not be beamed together,
180 // because they are on opposite side of the dotted quarter boundary
184 // in each measure, beam the first dotted half worth of notes together,
185 // then beam the remaining dotted quarter worth of notes together
186 score beamstyle = 2., 4.
188 1: 8c;d;e;d;e;f;e;f;g;
191 // in each measure, beam the first dotted quarter worth of notes together
192 // then beam the remaining dotted half worth of notes together
193 score beamstyle = 4., 2.;
195 1: 8c;d;e;d;e;f;e;f;g;
198 <IMG SRC="mugex24.gif" ALT="Picture of Mup output"><BR>
201 The value of the beamstyle parameter is remembered for
202 any later changes back to the same time signature.
203 For example, suppose you set
208 then later in the piece switched to
213 Then any time you went back to 4/4 or 3/4, the beamstyle you had set for that
214 time signature would automatically be set as well.
215 You could, of course, override the automatic setting
216 with a new beamstyle if you wished.
219 Normally Mup will break beams whenever it encounters a rest or space,
220 but if you or specify an "r" at the end of the
221 beamstyle parameter, it will beam across rests
222 of eighth note or shorter duration. Similarly, specifying an "s" at the
223 end of the beamstyle parameter will cause it to beam across spaces of
224 eighth note or shorter. Specifying both (in either order) will result
225 in beaming across both. Mup will also beam across eighth note or
226 shorter rests or spaces inside of custom beams.
229 Sometimes, if there are many short notes beamed together, you may wish to
230 subdivide the beams into smaller groupings, where the outer, or primary
231 beam remains unbroken, but the inner, or secondary beams are broken
232 periodically. When using custom beaming, this is specified by "esbm"
233 ("end subbeam" or "end secondary beam")
234 on the chord after which you want the break to occur.
235 When using beamstyle, parentheses are used to indicate what sets of
236 secondary beams are to be included in a given outer beam.
239 beamstyle=(4,4),(4,4)
242 // use the beamstyle parameter
243 1: 16c;d;e;f; g;a;b;c+; c+;b;a;g; 32f;e;f;e;d;c;d;c;
246 // use custom beaming
247 1: 16c bm;d;e;f;g;a esbm;b;c+;c+;b;a;g esbm;f;e;d;c ebm;
250 <IMG SRC="mugex25.gif" ALT="Picture of Mup output"><BR>
257 <A NAME="crossbm">sometimes notes on adjacent staffs are beamed together.</A>
258 Mup will do this with a variation on
259 <A HREF="ichdattr.html#custbeam">custom beaming.</A>
260 A bm and ebm must be specified on both staffs, and in each case the
261 bm is followed by a qualifier:
262 on the first of the two staffs, "bm with staff below" must
263 be specified, while on the second staff you use "bm with staff above".
264 For every point in time for the duration of the beam, one staff
265 must have a chord with notes in it, and the other staff must have
266 a space chord. (This is somewhat different than ordinary,
267 non-cross-staff beams controlled by the
268 <A HREF="param.html#beamstyl">beamstyle parameter,</A>
269 where spaces are not allowed unless beaming across spaces
270 is specifically requested.)
271 The two "bm" marks must occur at the same time in the
272 measure. Similarly, the two "ebm" marks must
273 occur at the same time in each staff.
274 Grouping subbeams using "esbm" is not supported on cross-staff beams.
279 1: 8f bm with staff below; a; 4s ebm; 4s bm with staff below; 8b; d ebm;
280 2: 4s bm with staff above; 8a; b ebm; b bm with staff above; d; 4s ebm;
283 <IMG SRC="mugex26.gif" ALT="Picture of Mup output"><BR>
286 Normally the beam will be drawn between the staffs, but
287 you can force the beam to be above or below all the notes by specifying a
288 <A HREF="chrdattr.html#stemdir">stem direction.</A>
289 You can also adjust the appearance of the beam by giving
290 <A HREF="chrdattr.html#stemlen">stems lengths</A>
291 for the first and last chords in the beam.
293 1: [up]8f bm with staff below;a;4s ebm;4s bm with staff below;8b;[len 11]d ebm;
294 2: 4s bm with staff above;8a;b ebm;[down;len 14]b bm with staff above;d;4s ebm;
297 <IMG SRC="mugex27.gif" ALT="Picture of Mup output"><BR>
300 If a cross-staff beam includes
301 <A HREF="tuplets.html">tuplets,</A>
302 the tuplet numbers will not
303 be printed. You would have to print them yourself using either
304 <A HREF="prnttext.html">a "print" statement</A>
306 <A HREF="stuff.html">a "boldital" statement.</A>
309 It is possible for cross-staff beams to collide with other items, such as
310 <A HREF="stuff.html">dynamic marks.</A>
311 In these cases, you may need to move the other items. Another
312 thing you might try is
313 <A HREF="chrdattr.html#stemlen">specifying stem lengths</A>
314 to alter where the beams get placed, or
315 <A HREF="prnttext.html">printing</A>
316 a blank string between the staffs to cause them to get placed further apart.
318 <A HREF="ichdattr.html#slope">slope,</A>
319 you have to specify it on the staff having notes in the first chord,
320 not the staff with space.
321 <A HREF="chrdattr.html#slashes">Slashes</A>
322 are not allowed on cross-staff beams.
325 Mup doesn't directly allow cross-staff grace note beams.
326 However, you may be able simulate the effect by using cue note chords
327 along with invisible time signature changes and possibly invisible bar lines.
329 <A HREF="invisbar.html">section on "Special uses of invisbar"</A>
333 You may want to also look at the section on
334 <A HREF="crossst.html">cross-staff stems,</A>
335 for an alternate way to handles some cases where you might
336 use cross-staff beams.
342 <A NAME="alt">Alternation pairs</A>
343 can be specified using "alt <I>N</I>" where <I>N</I>
344 is a number. An alternation
345 pair is two chords that are to played alternately in quick succession
346 but are not written out as such. This is shown by drawing <I>N</I> beams
347 between the stems of the chords. The note value you specify for each
348 chord must be the same, and the time value of each must equal the time
349 taken by the pair. For example, if the pair takes up the time of a half
350 note, each chord would be a half note.
353 // Alternate between c and c an octave
354 // higher. Total time taken is that of
355 // a half note. Two "beam"-like lines
356 // will be drawn to show the alternation.
360 <IMG SRC="mugex28.gif" ALT="Picture of Mup output"><BR>
363 Alternation is not allowed on cross-staff beams.
369 <A NAME="slope">On the first chord of a set of chords that are beamed together,</A>
371 beam angle from -45 to 45 degrees.
372 This will override whatever angle Mup would have used.
374 1: 8g slope 11; b; g slope 0; b; g slope -5.75; b;
377 <IMG SRC="mugex29.gif" ALT="Picture of Mup output"><BR>
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~mdw / mup / blob