~mdw / mup / blame
| Commit | Line | Data |
|---|---|---|
| fac14bbe MW |
1 | <HTML> |
| 2 | <HEAD><TITLE> | |
| 3 | Mup Text Marks | |
| 4 | </TITLE></HEAD> | |
| 5 | <BODY> | |
| 6 | <P> | |
| 7 | <A HREF="stuff.html"><-- previous page</A> | |
| 8 | ||
| 9 | <A HREF="index.html">Table of Contents</A> <A HREF="mussym.html">next page --></A> | |
| 10 | </P> | |
| 11 | ||
| 12 | <H2> | |
| 13 | Text | |
| 14 | </H2> | |
| 15 | <P> | |
| 16 | The four forms of Mup text statements | |
| 17 | (rom, bold, ital, and boldital) operate identically except for the font | |
| 18 | which is used. | |
| 19 | </P> | |
| 20 | <P> | |
| 21 | The text statements can have several additional qualifiers. The first is a | |
| 22 | fontfamily, given before the font. It can have any of the values of | |
| 23 | <A HREF="param.html#fontfam">the "fontfamily" parameter</A> | |
| 24 | (avantgarde, bookman, courier, helvetica, | |
| 25 | newcentury, palatino, or times), with the default being the value of | |
| 26 | the "fontfamily" parameter. | |
| 27 | </P> | |
| 28 | <P> | |
| 29 | The next optional qualifier is a | |
| 30 | point size, given in parentheses after the font type of rom, bold, etc. | |
| 31 | If this is omitted, the size is obtained from | |
| 32 | <A HREF="param.html#size">the "size" parameter</A> | |
| 33 | for the given staff, or for the score if the staff is specified by "all." | |
| 34 | </P> | |
| 35 | <H3> | |
| 36 | Chord, analysis, figured bass, and dynamics | |
| 37 | </H3> | |
| 38 | <P> | |
| 39 | <A NAME="chordmod">The final optional qualifier specifies special treatment of the text.</A> | |
| 40 | The qualifier can be "chord", "analysis", "figbass", or "dyn". | |
| 41 | The "chord" modifier is typically used for marking chords that might be | |
| 42 | played by a guitar or other instrument. The "analysis" modifier is | |
| 43 | typically used when marking harmonic analysis like "IV" or "vii". | |
| 44 | The "figbass" modifier is for figured bass notation. | |
| 45 | For all three, distance from the staff is affected by | |
| 46 | <A HREF="param.html#chdist">the "chorddist" parameter.</A> | |
| 47 | The "dyn" modifier is to mark the text as something that specifies | |
| 48 | dynamics. Mup only uses it when deciding where to place the text; | |
| 49 | something marked "dyn" will be treated like crescendo | |
| 50 | and decrescendo "hairpins." | |
| 51 | The default <I>place</I> for chord and dyn is above, whereas the default | |
| 52 | for the others is below. | |
| 53 | </P> | |
| 54 | <P> | |
| 55 | The text strings used with these chord, analysis, or figbass modifiers can | |
| 56 | contain any characters, but | |
| 57 | characters that indicate accidentals ("#", "&", "x", "&&", and "n") | |
| 58 | are translated to the appropriate music character, while "o", "o/", | |
| 59 | and "^" are translated to "\(dim)", "\(halfdim)", and "\(triangle)" | |
| 60 | respectively. However, with "chord," the | |
| 61 | translation of "n" to natural sign is not done, so you have to | |
| 62 | use \(nat) if you want a natural sign. This is because a literal letter n | |
| 63 | tends to occur more often in chords than natural signs. | |
| 64 | </P> | |
| 65 | <P> | |
| 66 | If you want to turn off the translation, to treat one of these characters | |
| 67 | literally, you can precede it with two backslashes. | |
| 68 | Thus, for example, "\\&" would yield a literal ampersand rather than | |
| 69 | a flat symbol. | |
| 70 | </P> | |
| 71 | <P> | |
| 72 | If the | |
| 73 | <A HREF="param.html#xpose">transpose</A> | |
| 74 | or | |
| 75 | <A HREF="param.html#addxpose">addtranspose</A> | |
| 76 | parameters are set, chords are transposed to match the new key: | |
| 77 | the letters "A" through "G" | |
| 78 | and any following accidentals will be transposed appropriately. | |
| 79 | The accidental can be either something like "#" or "&" or any of the special | |
| 80 | <A HREF="textstr.html#symlist">music characters</A> | |
| 81 | for accidentals (\(sharp), \(flat), etc.). | |
| 82 | If the staff is specified as "all," the score transposition value is used. | |
| 83 | Transposition has no effect on analysis or figbass. | |
| 84 | </P> | |
| 85 | <P> | |
| 86 | In figbass, the string starts out in piled mode, which means that | |
| 87 | each space in the input string will cause a new line on output, and, | |
| 88 | unless you specify other alignment, each line will be aligned on | |
| 89 | the last digit in the line. Also, the meanings of | |
| 90 | / and \/ are reversed from the normal meaning. This is done since | |
| 91 | drawing a slash through a number is very common in | |
| 92 | figured bass, so you can just use a / to indicate this, | |
| 93 | but if you really want a real slash, | |
| 94 | you can still get one by entering \/. | |
| 95 | </P> | |
| 96 | <P> | |
| 97 | With all three special qualifiers, the usual meanings | |
| 98 | of : and \: are reversed. This is | |
| 99 | because piling is very common in these strings, so it's handier to just | |
| 100 | put a : to indicate this, and for those rare cases when you want a | |
| 101 | literal colon, you can still get one by entering a \:. | |
| 102 | </P> | |
| 103 | <P> | |
| 104 | Here is an example showing chord, analysis, and figbass: | |
| 105 | <BR><PRE> | |
| 106 | 1: egc+;dgb;dfa;dgb; | |
| 107 | bold chord above 1: 1 "C"; 2 "G"; 3 "Dm"; 4 "G"; | |
| 108 | rom analysis below 1: 1 "I"; 2 "V"; 3 "ii"; 4 "V"; | |
| 109 | bar | |
| 110 | ||
| 111 | 1: egc+;dgb;df#a;dgb; | |
| 112 | rom figbass below 1: 1 "6 3"; 2 "6 4"; 3 "3/"; 4 "6 4"; | |
| 113 | bar | |
| 114 | ||
| 115 | 1: 1cegb; | |
| 116 | rom chord above 1: 1 "C^7"; | |
| 117 | bar | |
| 118 | 1: 1ce&g&b&; | |
| 119 | rom chord above 1: 1 "Co/"; | |
| 120 | bar | |
| 121 | 1: 1ce&g&b&&; | |
| 122 | rom chord above 1: 1 "Co:7"; | |
| 123 | bar | |
| 124 | 1: 1e&g&b&; | |
| 125 | rom chord above 1: 1 "E&m"; | |
| 126 | bar | |
| 127 | </PRE><BR> | |
| 128 | <IMG SRC="mugex69.gif" ALT="Picture of Mup output"><BR> | |
| 129 | </P> | |
| 130 | <P> | |
| 131 | If a music symbol occurs inside an ital or boldital string, | |
| 132 | <A NAME="italmus">the music symbol will automatically be made italics,</A> | |
| 133 | to match the rest of the string. | |
| 134 | </P> | |
| 135 | <P> | |
| 136 | It is possible to supply a duration on text statements. When this is done, | |
| 137 | Mup will draw a dashed line from the end of the text to the | |
| 138 | end of the duration. | |
| 139 | This may be useful if you want to indicate how long | |
| 140 | an action such as an accelerando or crescendo is to last. | |
| 141 | If the last character of the string is a "~", | |
| 142 | a wavy line will be drawn instead of a dashed line. | |
| 143 | If the last character of the string is an underscore, an underscore | |
| 144 | line will be drawn. | |
| 145 | </P> | |
| 146 | <P> | |
| 147 | Here are some examples of text: | |
| 148 | <BR><PRE> | |
| 149 | 1: e;g;b;d+; | |
| 150 | 2: 2e;b-; | |
| 151 | rom (12) above 1: 0 "Andante ( \(smup4n) = 88 )"; | |
| 152 | boldital (12) below 1: 1 "mf"; 3.5 "mp"; | |
| 153 | newcentury bold (12) chord above 1: 1 "E&7"; 3 "B&9"; | |
| 154 | ital between 1&2: 2 "rit."; | |
| 155 | palatino ital below 2: 2 "cresc." til 1m+2; | |
| 156 | bar | |
| 157 | 1: 1egc+; | |
| 158 | 2: 1c; | |
| 159 | bold (12) chord above 1: 1 "Cm"; | |
| 160 | bar | |
| 161 | </PRE><BR> | |
| 162 | <IMG SRC="mugex70.gif" ALT="Picture of Mup output"><BR> | |
| 163 | </P> | |
| 164 | <H2> | |
| 165 | Grids | |
| 166 | </H2> | |
| 167 | <P> | |
| 168 | <A NAME="grids">If the</A> | |
| 169 | <A HREF="param.html#gridused">gridswhereused parameter</A> | |
| 170 | is set to "y" chords will also have a grid printed. | |
| 171 | For this to work, a grid with the same name as the chord must be | |
| 172 | defined in "grids" context elsewhere in the input file. | |
| 173 | </P> | |
| 174 | <P> | |
| 175 | The grids context contains lines each consisting of two text strings. | |
| 176 | The first is the name of the chord, matching the name you want to | |
| 177 | use in printing text with the "chord" qualifier. The second describes | |
| 178 | the fret pattern for that chord. It is a space-separated list, with | |
| 179 | each list element being either a fret number from 1 to 99, which will result in | |
| 180 | a dot being printed at that fret, or an "o" or "x" | |
| 181 | which will result in a circle or x respectively being printed above the | |
| 182 | grid, or a "-" in which case no mark at all will be made. | |
| 183 | The fret pattern may also contain an open and closing | |
| 184 | parenthesis to mark where a curve is to be drawn, indicating the use | |
| 185 | of a single finger to span several strings. For example: | |
| 186 | <BR><PRE> | |
| 187 | score | |
| 188 | gridswhereused=y | |
| 189 | gridfret=3 | |
| 190 | grids | |
| 191 | "C" " - 3 2 o 1 o " | |
| 192 | "C5" " - 3 x o 1 3 " | |
| 193 | "Em" " o 2 2 o o o " | |
| 194 | "A&" "(4 6 6 5 4 4)" | |
| 195 | "A11" " - o o o o o " | |
| 196 | music | |
| 197 | ||
| 198 | rom chord 1: 1 "C"; 2 "C5"; 3 "Em"; | |
| 199 | 1: 2c;e; | |
| 200 | bar | |
| 201 | ||
| 202 | rom chord 1: 1 "A&"; 3 "A11"; | |
| 203 | 1: 2a&;an; | |
| 204 | bar | |
| 205 | </PRE><BR> | |
| 206 | <IMG SRC="mugex71.gif" ALT="Picture of Mup output"><BR> | |
| 207 | </P> | |
| 208 | <P> | |
| 209 | If | |
| 210 | <A HREF="param.html#xpose">transposition</A> | |
| 211 | is in effect, | |
| 212 | the chord names in the grids context have to match the transposed names. | |
| 213 | So, for example, if you use an "A" chord in a chord statement, then | |
| 214 | transpose the staff up a major second, Mup will look for and use the grid | |
| 215 | definition called "B" to match the transposed chord name. | |
| 216 | </P> | |
| 217 | <P> | |
| 218 | If you supply more than one grid definition for the same chord name, | |
| 219 | Mup uses the last one. This allows you to easily | |
| 220 | <A HREF="include.html">"include" a file</A> | |
| 221 | of standard chords, but override a few of them with a special fingering for a | |
| 222 | particular song. If you really want to use more than one fingering in | |
| 223 | different places in the same song for the same chord name, you need to make | |
| 224 | the names look different, so Mup will treat them as different chords. | |
| 225 | One way to do this would be to put a space and backspace in the name. | |
| 226 | So, for example, "Am" and "Am \b" would count as separate chords and could | |
| 227 | have different grid definitions, but the chord names would still look | |
| 228 | the same on output. | |
| 229 | </P> | |
| 230 | <HR><P> | |
| 231 | <A HREF="stuff.html"><-- previous page</A> <A HREF="index.html">Table of Contents</A> <A HREF="mussym.html">next page --></A> | |
| 232 | </P> | |
| 233 | </BODY></HTML> |