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<HEAD><TITLE>
Specifying chords
</TITLE></HEAD>
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<H2>
Specifying chords
</H2>
<H3>
Staff and voice
</H3>
<P>
The description of the music for one voice begins with the staff and voice
number, followed by a colon. For example:
<BR><PRE>
3 1:
</PRE><BR>
indicates that the remainder of the line contains musical information for voice
1 of staff 3. If the &quot;voice&quot; number is omitted, voice 1 is assumed. Thus
<BR><PRE>
3:
</PRE><BR>
is equivalent to the previous example.
Both the staff and voice can be given as a list. This may be useful if
several staffs have the same notes, or multiple voices on a staff have the
same notes. For example:
<BR><PRE>
1-4 2:		// voice 2 of staffs 1, 2, 3, and 4
1,2,4:		// voice 1 of staffs 1, 2, and 4,
1,3,6-7 1-2:	// voices 1 and 2 on staffs 1, 3, 6 and 7
5-8 1,2:	// voices 1 and 2 on staffs 5, 6, 7, and 8
</PRE><BR>
</P>
<P>
If you want notes to go to one voice on some staffs
and a different voice on others,
this can be specified using an ampersand. For example:
<BR><PRE>
1 1 &amp; 3 2:
</PRE><BR>
will cause the music to go to voice 1 of staff 1 as well as to voice
2 of staff 3. Various styles can be combined:
<BR><PRE>
// Voices 1 and 2 on staff 2,
// as well as voice 2 on staff 4
// and voice 1 on staffs 6, 7, and 9
2 1-2 &amp; 4 2 &amp; 6-7,9 1:
</PRE><BR>
</P>
<P>
It is possible to have up to
40
<A HREF="param.html#staffs">staffs</A>
and up to
<A HREF="param.html#vscheme">three voices per staff.</A>
While there can be voice crossings, in general voice 1 should be the &quot;top&quot;
voice, voice 2 the &quot;bottom&quot; voice, and voice 3 the &quot;middle&quot; or &quot;extra&quot; voice.
With the first two voices, Mup tries hard to avoid any &quot;collisions&quot;
between notes, rests, and other things. Since voice 3 is an extra voice,
there are some cases when overlap with the other voices
is basically unavoidable, but there are some techniques
discussed later that let you
<A HREF="chrdattr.html">tweak placement</A>
when necessary.
</P>
<P>
As an alternative to this voice-at-a-time input style, there is
also a chord-at-a-time input style, which will be covered
<A HREF="altinp.html">later.</A>
</P>
<H3>
Chord duration information
</H3>
<P>
The rest of the line contains a list of chords, with a semicolon at the
end of each chord. Each chord has a
<A NAME="duration">time value.</A>
The time values of all
the chords in the line must add up to the
<A HREF="param.html#time">time signature.</A>
Time values are given as follows:
<TABLE BORDER=4>
<TR>
<TD><B>Input</B></TD>	<TD><B>Meaning</B></TD>
</TR>
<TR>
<TD>1/4</TD>	<TD>quadruple whole (not valid for notes)</TD>
</TR>
<TR>
<TD>1/2</TD>	<TD>double whole</TD>
</TR>
<TR>
<TD>1</TD>	<TD>whole</TD>
</TR>
<TR>
<TD>2</TD>	<TD>half</TD>
</TR>
<TR>
<TD>4</TD>	<TD>quarter</TD>
</TR>
<TR>
<TD>8</TD>	<TD>eighth</TD>
</TR>
<TR>
<TD>16</TD>	<TD>sixteenth</TD>
</TR>
<TR>
<TD>32</TD>	<TD>thirty-second</TD>
</TR>
<TR>
<TD>64</TD>	<TD>sixty-fourth</TD>
</TR>
<TR>
<TD>128</TD>	<TD>128th</TD>
</TR>
<TR>
<TD>256</TD>	<TD>256th</TD>
</TR>
</TABLE>

</P>
<P>
Any of these time values can be followed by one or more dots, to indicate
a dotted note. Each dot increases the time value by 50% of the preceding
note or dot.
</P>
<P>
It is also possible to specify time as two or more times to be added together.
For example, 2+8 would indicate the time of a half note plus the time of
an eighth note, or in other words, a half note tied to an eighth note.
The expression can also include subtractions, like 2.-16. When subtractions
are present, it isn't clear what time values you want Mup to use,
so it will start with the largest possible time value and add enough
additional chords to add up to the total. For example, if you were to use
1-4, indicating a whole note minus a quarter note,
Mup will use a dotted half note, even though there are a number of
other ways to represent that total time, such as a half note tied to a
quarter note.
</P>
<P>
If a time value is not specified for the first chord in a measure for a
given voice, the default timeunit value
is used. You can set the default value using the
<A HREF="param.html#timeunit">"timeunit" parameter</A>
as described in the
<A HREF="param.html">"Parameters" section.</A>
If that parameter is not set, the default is the denominator (bottom
number) of the
<A HREF="param.html#time">time signature.</A>
For chords after the first, if a time value is not specified, the time
value for the previous chord is used.
</P>
<H3>
Notes, rests, or spaces
</H3>
<P>
<A NAME="letter">There are three kinds of "chords."</A>
The first type consists of one or more
pitches, given by the letters &quot;a&quot; through &quot;g&quot;.
<A NAME="pitchpar">Parentheses</A>
can be placed around the pitch if you want
the note to be printed in parentheses.
(If the pitch is modified by an
<A HREF="chordinp.html#acc">accidental</A>
or
<A HREF="chordinp.html#oct">octave,</A>
which will be
discussed later, those must also be included inside the parentheses.)
<A NAME="restspc">The second is a rest, which</A>
is designated by the letter r. The third type is a &quot;space,&quot; designated
by the letter s. Space is basically
a placeholder that takes up time, but doesn't print anything. It is useful
when a certain voice only has notes during part of the measure. It can also
be useful for specifying &quot;pickup&quot; measures to account for the time before
the first note in the measure. For example:
<BR><PRE>
// a pickup measure
1: 2.s;8.c;16d;
bar
1: e;g;e;c;
endbar
</PRE><BR>
<IMG SRC="mugex9.gif" ALT="Picture of Mup output"><BR>
</P>
<P>
If all voices contain spaces, no space is actually taken up on output.
Most of the time, this will be what you want. For example,
when you are using space for a pickup, the
space is just to add up to a measure, and you don't want any actual blank space
at the beginning of the piece. Once in a while, however, you
may want space to actually be allocated on output, perhaps
to be able to allow space for some special notation. In that case,
you prefix the &quot;s&quot; with a &quot;u&quot; to indicate an uncollapseable space.
</P>
<P>
If a given voice is omitted for a particular measure,
Mup defaults to a measure of space.
</P>
<H4>
Measure duration
</H4>
<P>
<A NAME="measdur">There is a special duration of "m," which means an entire measure.</A>
It can only be used with a rest, space, or &quot;rpt&quot; (repeat). For example:
<BR><PRE>
1 1: mr;
1 2: ms;
</PRE><BR>
</P>
<P>
A measure rest looks like a whole rest, but is centered in the measure.
It should be used when a whole measure is a rest, regardless of the time
signature.
However, if you want to force use of a symbol other than the whole rest
symbol, you can specify a duration before the mr, and the rest symbol for that
duration will be drawn instead.
<BR><PRE>
4mr;   // use a quarter rest symbol
1/4mr;  // use a quadruple whole rest symbol
2.. mr;  // use a double-dotted half rest
</PRE><BR>
</P>
<P>
Using &quot;m rpt&quot; will cause the
measure repeat symbol to be printed, indicating
the measure is just like the previous measure. Measures repeats
will automatically be numbered, unless the
<A HREF="param.html#nummrpt">numbermrpt parameter</A>
is set to n. If there is more than one voice, you only need to
specify the mrpt on voice 1. If you do specify other voices as well,
they must be either a mrpt or ms.
<BR><PRE>
1: c;d;e;f;
bar

// another measure just like the first
1: m rpt;
bar

// the space between m and rpt is optional
1: mrpt;
bar
</PRE><BR>
<IMG SRC="mugex10.gif" ALT="Picture of Mup output"><BR>
</P>
<H4>
Accidentals
</H4>
<P>
<A NAME="acc">Each pitch letter in a chord may be followed by an accidental.</A>
Valid accidentals are:
<TABLE BORDER=4>
<TR>
<TD><B>Input</B></TD>	<TD><B>Meaning</B></TD>
</TR>
<TR>
<TD><TT>#</TT></TD>	<TD>sharp</TD>
</TR>
<TR>
<TD><TT>&amp;</TT></TD>	<TD>flat</TD>
</TR>
<TR>
<TD><TT>x</TT></TD>	<TD>double sharp</TD>
</TR>
<TR>
<TD><TT>&amp;&amp;</TT></TD>	<TD>double flat</TD>
</TR>
<TR>
<TD><TT>n</TT></TD>	<TD>natural</TD>
</TR>
</TABLE>

</P>
<P>
The accidental can be placed inside
parentheses if you want it to be printed
within parentheses.
</P>
<H4>
Octave
</H4>
<P>
<A NAME="oct">An octave indicator may be specified after the pitch letter</A>
or optional accidental.
The octave can be specified in either of two ways:
absolute or relative. A number from 0 to 9 is
used to specify an absolute octave. Octaves run from C up to B. Octave 4 is
the octave starting on middle C. Octave 3 is the octave below that, etc.
A relative octave is specified by one or more plus or minus signs, and
indicates that number of octaves above or below the default octave. For
example:
<BR><PRE>
c	// c in the default octave
e++	// e two octaves above default octave
f#---	// f# three octaves below default octave
b&amp;6	// b flat in octave 6
</PRE><BR>
</P>
<P>
The default octave can be set using the
<A HREF="param.html#defoct">"defoct" parameter,</A>
which is described in the
<A HREF="param.html">"Parameters" section.</A>
If that parameter is not
set, the default octave is the octave containing the note associated with
the middle line of the staff, based on the current
<A HREF="param.html#clef">clef.</A>
In other words, the default octaves are:
<TABLE BORDER=4>
<TR>
<TD><B>Clef</B></TD>	<TD><B>Octave</B></TD>
</TR>
<TR>
<TD>frenchviolin</TD>	<TD>5</TD>
</TR>
<TR>
<TD>8treble</TD>	<TD>5</TD>
</TR>
<TR>
<TD>treble</TD>	<TD>4</TD>
</TR>
<TR>
<TD>soprano</TD>	<TD>4</TD>
</TR>
<TR>
<TD>mezzosoprano</TD>	<TD>4</TD>
</TR>
<TR>
<TD>alto</TD>	<TD>4</TD>
</TR>
<TR>
<TD>treble8</TD>	<TD>3</TD>
</TR>
<TR>
<TD>tenor</TD>	<TD>3</TD>
</TR>
<TR>
<TD>baritone</TD>	<TD>3</TD>
</TR>
<TR>
<TD>bass</TD>	<TD>3</TD>
</TR>
</TABLE>

</P>
<H3>
Shorthand notations
</H3>
<P>
<A NAME="shorthnd">If a chord is omitted, the values for the previous chord are reused. This</A>
works for pitches, rests, and spaces. For normal,
<A HREF="param.html#stlines">5-line staffs,</A>
the pitches for the first chord of every measure
must always be specified, since there is no previous chord.
</P>
<P>
Putting all these things together, here are some examples:
<BR><PRE>
// Two eighth notes, each b#, followed by an eighth
// note d, eighth note e, and half note e, with the
// last 3 notes being in the next higher octave.
1 1: 8b#; ; d+; e+; 2;

// Whole note C-E-G chord in default octave
// for voice 2 of staff 1
1 2: 1ceg;

// Four quarter notes on staff 2, voice 1.
// The last is in the octave above the default octave.
2: 4g; a; b; c+;
</PRE><BR>
<IMG SRC="mugex11.gif" ALT="Picture of Mup output"><BR>
</P>
<P>
For
<A HREF="param.html#stlines">1-line staffs,</A>
it is never necessary to specify a pitch, since all notes
go on the single staff line. You can, however, specify a pitch if you wish.
The pitch will be ignored for the purposes of printing, but will be
used for
<A HREF="midi.html">MIDI output.</A>
If you don't specify a pitch, it is arbitrarily set to middle C.
</P>
<HR><P>
&nbsp;&nbsp;&nbsp;<A HREF="music.html">&lt;-- previous page</A>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<A HREF="index.html">Table of Contents</A>&nbsp;&nbsp;&nbsp;&nbsp;<A HREF="noteattr.html">next page --&gt;</A>
</P>
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Commit	Line	Data
69695f33 MW	1	<HTML>
	2	<HEAD><TITLE>
	3	Specifying chords
	4	</TITLE></HEAD>
	5	<BODY>
	6	<P>
	7	<A HREF="music.html"><-- previous page</A>
	8
	9	<A HREF="index.html">Table of Contents</A>    <A HREF="noteattr.html">next page --></A>
	10	</P>
	11
	12	<H2>
	13	Specifying chords
	14	</H2>
	15	<H3>
	16	Staff and voice
	17	</H3>
	18	<P>
	19	The description of the music for one voice begins with the staff and voice
	20	number, followed by a colon. For example:
	21	<BR><PRE>
	22	3 1:
	23	</PRE><BR>
	24	indicates that the remainder of the line contains musical information for voice
	25	1 of staff 3. If the "voice" number is omitted, voice 1 is assumed. Thus
	26	<BR><PRE>
	27	3:
	28	</PRE><BR>
	29	is equivalent to the previous example.
	30	Both the staff and voice can be given as a list. This may be useful if
	31	several staffs have the same notes, or multiple voices on a staff have the
	32	same notes. For example:
	33	<BR><PRE>
	34	1-4 2: // voice 2 of staffs 1, 2, 3, and 4
	35	1,2,4: // voice 1 of staffs 1, 2, and 4,
	36	1,3,6-7 1-2: // voices 1 and 2 on staffs 1, 3, 6 and 7
	37	5-8 1,2: // voices 1 and 2 on staffs 5, 6, 7, and 8
	38	</PRE><BR>
	39	</P>
	40	<P>
	41	If you want notes to go to one voice on some staffs
	42	and a different voice on others,
	43	this can be specified using an ampersand. For example:
	44	<BR><PRE>
	45	1 1 & 3 2:
	46	</PRE><BR>
	47	will cause the music to go to voice 1 of staff 1 as well as to voice
	48	2 of staff 3. Various styles can be combined:
	49	<BR><PRE>
	50	// Voices 1 and 2 on staff 2,
	51	// as well as voice 2 on staff 4
	52	// and voice 1 on staffs 6, 7, and 9
	53	2 1-2 & 4 2 & 6-7,9 1:
	54	</PRE><BR>
	55	</P>
	56	<P>
	57	It is possible to have up to
	58	40
	59	<A HREF="param.html#staffs">staffs</A>
	60	and up to
	61	<A HREF="param.html#vscheme">three voices per staff.</A>
	62	While there can be voice crossings, in general voice 1 should be the "top"
	63	voice, voice 2 the "bottom" voice, and voice 3 the "middle" or "extra" voice.
	64	With the first two voices, Mup tries hard to avoid any "collisions"
65	between notes, rests, and other things. Since voice 3 is an extra voice,
66	there are some cases when overlap with the other voices
67	is basically unavoidable, but there are some techniques
68	discussed later that let you
69	<A HREF="chrdattr.html">tweak placement</A>
70	when necessary.
71	</P>
72	<P>
73	As an alternative to this voice-at-a-time input style, there is
74	also a chord-at-a-time input style, which will be covered
75	<A HREF="altinp.html">later.</A>
76	</P>
77	<H3>
78	Chord duration information
79	</H3>
80	<P>
81	The rest of the line contains a list of chords, with a semicolon at the
82	end of each chord. Each chord has a
83	<A NAME="duration">time value.</A>
84	The time values of all
85	the chords in the line must add up to the
86	<A HREF="param.html#time">time signature.</A>
87	Time values are given as follows:
88	<TABLE BORDER=4>
89	<TR>
90	<TD><B>Input</B></TD> <TD><B>Meaning</B></TD>
91	</TR>
92	<TR>
93	<TD>1/4</TD> <TD>quadruple whole (not valid for notes)</TD>
94	</TR>
95	<TR>
96	<TD>1/2</TD> <TD>double whole</TD>
97	</TR>
98	<TR>
99	<TD>1</TD> <TD>whole</TD>
100	</TR>
101	<TR>
102	<TD>2</TD> <TD>half</TD>
103	</TR>
104	<TR>
105	<TD>4</TD> <TD>quarter</TD>
106	</TR>
107	<TR>
108	<TD>8</TD> <TD>eighth</TD>
109	</TR>
110	<TR>
111	<TD>16</TD> <TD>sixteenth</TD>
112	</TR>
113	<TR>
114	<TD>32</TD> <TD>thirty-second</TD>
115	</TR>
116	<TR>
117	<TD>64</TD> <TD>sixty-fourth</TD>
118	</TR>
119	<TR>
120	<TD>128</TD> <TD>128th</TD>
121	</TR>
122	<TR>
123	<TD>256</TD> <TD>256th</TD>
124	</TR>
125	</TABLE>
126
127	</P>
128	<P>
129	Any of these time values can be followed by one or more dots, to indicate
130	a dotted note. Each dot increases the time value by 50% of the preceding
131	note or dot.
132	</P>
133	<P>
134	It is also possible to specify time as two or more times to be added together.
135	For example, 2+8 would indicate the time of a half note plus the time of
136	an eighth note, or in other words, a half note tied to an eighth note.
137	The expression can also include subtractions, like 2.-16. When subtractions
138	are present, it isn't clear what time values you want Mup to use,
139	so it will start with the largest possible time value and add enough
140	additional chords to add up to the total. For example, if you were to use
141	1-4, indicating a whole note minus a quarter note,
142	Mup will use a dotted half note, even though there are a number of
143	other ways to represent that total time, such as a half note tied to a
144	quarter note.
145	</P>
146	<P>
147	If a time value is not specified for the first chord in a measure for a
148	given voice, the default timeunit value
149	is used. You can set the default value using the
150	<A HREF="param.html#timeunit">"timeunit" parameter</A>
151	as described in the
152	<A HREF="param.html">"Parameters" section.</A>
153	If that parameter is not set, the default is the denominator (bottom
154	number) of the
155	<A HREF="param.html#time">time signature.</A>
156	For chords after the first, if a time value is not specified, the time
157	value for the previous chord is used.
158	</P>
159	<H3>
160	Notes, rests, or spaces
161	</H3>
162	<P>
163	<A NAME="letter">There are three kinds of "chords."</A>
164	The first type consists of one or more
165	pitches, given by the letters "a" through "g".
166	<A NAME="pitchpar">Parentheses</A>
167	can be placed around the pitch if you want
168	the note to be printed in parentheses.
169	(If the pitch is modified by an
170	<A HREF="chordinp.html#acc">accidental</A>
171	or
172	<A HREF="chordinp.html#oct">octave,</A>
173	which will be
174	discussed later, those must also be included inside the parentheses.)
175	<A NAME="restspc">The second is a rest, which</A>
176	is designated by the letter r. The third type is a "space," designated
177	by the letter s. Space is basically
178	a placeholder that takes up time, but doesn't print anything. It is useful
179	when a certain voice only has notes during part of the measure. It can also
180	be useful for specifying "pickup" measures to account for the time before
181	the first note in the measure. For example:
182	<BR><PRE>
183	// a pickup measure
184	1: 2.s;8.c;16d;
185	bar
186	1: e;g;e;c;
187	endbar
188	</PRE><BR>
189	<IMG SRC="mugex9.gif" ALT="Picture of Mup output"><BR>
190	</P>
191	<P>
192	If all voices contain spaces, no space is actually taken up on output.
193	Most of the time, this will be what you want. For example,
194	when you are using space for a pickup, the
195	space is just to add up to a measure, and you don't want any actual blank space
196	at the beginning of the piece. Once in a while, however, you
197	may want space to actually be allocated on output, perhaps
198	to be able to allow space for some special notation. In that case,
199	you prefix the "s" with a "u" to indicate an uncollapseable space.
200	</P>
201	<P>
202	If a given voice is omitted for a particular measure,
203	Mup defaults to a measure of space.
204	</P>
205	<H4>
206	Measure duration
207	</H4>
208	<P>
209	<A NAME="measdur">There is a special duration of "m," which means an entire measure.</A>
210	It can only be used with a rest, space, or "rpt" (repeat). For example:
211	<BR><PRE>
212	1 1: mr;
213	1 2: ms;
214	</PRE><BR>
215	</P>
216	<P>
217	A measure rest looks like a whole rest, but is centered in the measure.
218	It should be used when a whole measure is a rest, regardless of the time
219	signature.
220	However, if you want to force use of a symbol other than the whole rest
221	symbol, you can specify a duration before the mr, and the rest symbol for that
222	duration will be drawn instead.
223	<BR><PRE>
224	4mr; // use a quarter rest symbol
225	1/4mr; // use a quadruple whole rest symbol
226	2.. mr; // use a double-dotted half rest
227	</PRE><BR>
228	</P>
229	<P>
230	Using "m rpt" will cause the
231	measure repeat symbol to be printed, indicating
232	the measure is just like the previous measure. Measures repeats
233	will automatically be numbered, unless the
234	<A HREF="param.html#nummrpt">numbermrpt parameter</A>
235	is set to n. If there is more than one voice, you only need to
236	specify the mrpt on voice 1. If you do specify other voices as well,
237	they must be either a mrpt or ms.
238	<BR><PRE>
239	1: c;d;e;f;
240	bar
241
242	// another measure just like the first
243	1: m rpt;
244	bar
245
246	// the space between m and rpt is optional
247	1: mrpt;
248	bar
249	</PRE><BR>
250	<IMG SRC="mugex10.gif" ALT="Picture of Mup output"><BR>
251	</P>
252	<H4>
253	Accidentals
254	</H4>
255	<P>
256	<A NAME="acc">Each pitch letter in a chord may be followed by an accidental.</A>
257	Valid accidentals are:
258	<TABLE BORDER=4>
259	<TR>
260	<TD><B>Input</B></TD> <TD><B>Meaning</B></TD>
261	</TR>
262	<TR>
263	<TD><TT>#</TT></TD> <TD>sharp</TD>
264	</TR>
265	<TR>
266	<TD><TT>&</TT></TD> <TD>flat</TD>
267	</TR>
268	<TR>
269	<TD><TT>x</TT></TD> <TD>double sharp</TD>
270	</TR>
271	<TR>
272	<TD><TT>&&</TT></TD> <TD>double flat</TD>
273	</TR>
274	<TR>
275	<TD><TT>n</TT></TD> <TD>natural</TD>
276	</TR>
277	</TABLE>
278
279	</P>
280	<P>
281	The accidental can be placed inside
282	parentheses if you want it to be printed
283	within parentheses.
284	</P>
285	<H4>
286	Octave
287	</H4>
288	<P>
289	<A NAME="oct">An octave indicator may be specified after the pitch letter</A>
290	or optional accidental.
291	The octave can be specified in either of two ways:
292	absolute or relative. A number from 0 to 9 is
293	used to specify an absolute octave. Octaves run from C up to B. Octave 4 is
294	the octave starting on middle C. Octave 3 is the octave below that, etc.
295	A relative octave is specified by one or more plus or minus signs, and
296	indicates that number of octaves above or below the default octave. For
297	example:
298	<BR><PRE>
299	c // c in the default octave
300	e++ // e two octaves above default octave
301	f#--- // f# three octaves below default octave
302	b&6 // b flat in octave 6
303	</PRE><BR>
304	</P>
305	<P>
306	The default octave can be set using the
307	<A HREF="param.html#defoct">"defoct" parameter,</A>
308	which is described in the
309	<A HREF="param.html">"Parameters" section.</A>
310	If that parameter is not
311	set, the default octave is the octave containing the note associated with
312	the middle line of the staff, based on the current
313	<A HREF="param.html#clef">clef.</A>
314	In other words, the default octaves are:
315	<TABLE BORDER=4>
316	<TR>
317	<TD><B>Clef</B></TD> <TD><B>Octave</B></TD>
318	</TR>
319	<TR>
320	<TD>frenchviolin</TD> <TD>5</TD>
321	</TR>
322	<TR>
323	<TD>8treble</TD> <TD>5</TD>
324	</TR>
325	<TR>
326	<TD>treble</TD> <TD>4</TD>
327	</TR>
328	<TR>
329	<TD>soprano</TD> <TD>4</TD>
330	</TR>
331	<TR>
332	<TD>mezzosoprano</TD> <TD>4</TD>
333	</TR>
334	<TR>
335	<TD>alto</TD> <TD>4</TD>
336	</TR>
337	<TR>
338	<TD>treble8</TD> <TD>3</TD>
339	</TR>
340	<TR>
341	<TD>tenor</TD> <TD>3</TD>
342	</TR>
343	<TR>
344	<TD>baritone</TD> <TD>3</TD>
345	</TR>
346	<TR>
347	<TD>bass</TD> <TD>3</TD>
348	</TR>
349	</TABLE>
350
351	</P>
352	<H3>
353	Shorthand notations
354	</H3>
355	<P>
356	<A NAME="shorthnd">If a chord is omitted, the values for the previous chord are reused. This</A>
357	works for pitches, rests, and spaces. For normal,
358	<A HREF="param.html#stlines">5-line staffs,</A>
359	the pitches for the first chord of every measure
360	must always be specified, since there is no previous chord.
361	</P>
362	<P>
363	Putting all these things together, here are some examples:
364	<BR><PRE>
365	// Two eighth notes, each b#, followed by an eighth
366	// note d, eighth note e, and half note e, with the
367	// last 3 notes being in the next higher octave.
368	1 1: 8b#; ; d+; e+; 2;
369
370	// Whole note C-E-G chord in default octave
371	// for voice 2 of staff 1
372	1 2: 1ceg;
373
374	// Four quarter notes on staff 2, voice 1.
375	// The last is in the octave above the default octave.
376	2: 4g; a; b; c+;
377	</PRE><BR>
378	<IMG SRC="mugex11.gif" ALT="Picture of Mup output"><BR>
379	</P>
380	<P>
381	For
382	<A HREF="param.html#stlines">1-line staffs,</A>
383	it is never necessary to specify a pitch, since all notes
384	go on the single staff line. You can, however, specify a pitch if you wish.
385	The pitch will be ignored for the purposes of printing, but will be
386	used for
387	<A HREF="midi.html">MIDI output.</A>
388	If you don't specify a pitch, it is arbitrarily set to middle C.
389	</P>
390	<HR><P>
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