| 1 | <HTML> |
| 2 | <HEAD><TITLE> |
| 3 | Inter-chord attributes |
| 4 | </TITLE></HEAD> |
| 5 | <BODY> |
| 6 | <P> |
| 7 | <A HREF="crossst.html"><-- previous page</A> |
| 8 | |
| 9 | <A HREF="index.html">Table of Contents</A> <A HREF="tuplets.html">next page --></A> |
| 10 | </P> |
| 11 | |
| 12 | <H3> |
| 13 | Inter-chord attributes |
| 14 | </H3> |
| 15 | <P> |
| 16 | In addition to the |
| 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 |
| 22 | such attributes: |
| 23 | <UL> |
| 24 | <LI> |
| 25 | <A HREF="ichdattr.html#tie">chord ties</A> |
| 26 | <LI> |
| 27 | <A HREF="ichdattr.html#slur">chord slurs</A> |
| 28 | <LI> |
| 29 | <A HREF="ichdattr.html#custbeam">custom beaming</A> |
| 30 | <LI> |
| 31 | <A HREF="ichdattr.html#crossbm">cross-staff beams</A> |
| 32 | <LI> |
| 33 | <A HREF="ichdattr.html#alt">alternation</A> |
| 34 | <LI> |
| 35 | <A HREF="ichdattr.html#slope">slope</A> |
| 36 | </UL> |
| 37 | </P> |
| 38 | <P> |
| 39 | If several of these are specified on a single chord, they may be in any |
| 40 | order, separated by commas. |
| 41 | </P> |
| 42 | <H4> |
| 43 | Chord ties |
| 44 | </H4> |
| 45 | <P> |
| 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> |
| 50 | Thus: |
| 51 | <BR><PRE> |
| 52 | ceg tie; |
| 53 | </PRE><BR> |
| 54 | is equivalent to |
| 55 | <BR><PRE> |
| 56 | c~e~g~; |
| 57 | </PRE><BR> |
| 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. |
| 64 | </P> |
| 65 | <P> |
| 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: |
| 68 | <BR><PRE> |
| 69 | 1: 2ceg tie;8;;4; // explicit tie |
| 70 | |
| 71 | 1: 2+8ceg;8;4; // tie implied by added time values |
| 72 | </PRE><BR> |
| 73 | </P> |
| 74 | <H4> |
| 75 | Chord slurs |
| 76 | </H4> |
| 77 | <P> |
| 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 |
| 83 | second chord, etc. |
| 84 | Thus the following 2 measures give equivalent output: |
| 85 | <BR><PRE> |
| 86 | 1: 2f<d> a<b> c+<d+>; dbd+; |
| 87 | bar |
| 88 | |
| 89 | 1: 2fac+ slur; dbd+; |
| 90 | bar |
| 91 | </PRE><BR> |
| 92 | <IMG SRC="mugex22.gif" ALT="Picture of Mup output"><BR> |
| 93 | </P> |
| 94 | <P> |
| 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. |
| 103 | </P> |
| 104 | <H4> |
| 105 | Custom beaming |
| 106 | </H4> |
| 107 | <P> |
| 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. |
| 120 | An example: |
| 121 | <BR><PRE> |
| 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; |
| 125 | bar |
| 126 | |
| 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; |
| 130 | bar |
| 131 | </PRE><BR> |
| 132 | <IMG SRC="mugex23.gif" ALT="Picture of Mup output"><BR> |
| 133 | </P> |
| 134 | <P> |
| 135 | In the absence of custom beaming, Mup will beam notes together |
| 136 | using the |
| 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. |
| 145 | <BR><PRE> |
| 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 |
| 149 | music |
| 150 | 1: 8c;d;e;f;g;a;b;c+; |
| 151 | bar |
| 152 | 1: 8c;d;4e;f;8g;c; |
| 153 | bar |
| 154 | |
| 155 | // beam each half note worth of notes together, |
| 156 | // breaking the beaming at each half note boundary |
| 157 | score beamstyle = 2,2 |
| 158 | music |
| 159 | 1: 8c;d;e;f;g;a;b;c+; |
| 160 | bar |
| 161 | // the middle two eighth notes will not be beamed together, |
| 162 | // because they are on opposite sides of the half note boundary |
| 163 | 1: 8c;4d;8e;f;4g;8c; |
| 164 | bar |
| 165 | |
| 166 | // beam each whole note worth of notes together |
| 167 | score beamstyle = 1 |
| 168 | music |
| 169 | 1: 8c;d;e;f;g;a;b;c+; |
| 170 | bar |
| 171 | 1: 8c;4d;8e;f;4g;8c; |
| 172 | bar |
| 173 | |
| 174 | // in 9/8 time, beam each dotted quarter note worth of notes together |
| 175 | score time = 9/8 ; beamstyle = 4., 4., 4. |
| 176 | music |
| 177 | 1: 8c;d;e;d;e;f;e;f;g; |
| 178 | bar |
| 179 | // the eight notes will not be beamed together, |
| 180 | // because they are on opposite side of the dotted quarter boundary |
| 181 | 1: 4.c;4d;8e;8f;4g; |
| 182 | bar |
| 183 | |
| 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. |
| 187 | music |
| 188 | 1: 8c;d;e;d;e;f;e;f;g; |
| 189 | bar |
| 190 | |
| 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.; |
| 194 | music |
| 195 | 1: 8c;d;e;d;e;f;e;f;g; |
| 196 | bar |
| 197 | </PRE><BR> |
| 198 | <IMG SRC="mugex24.gif" ALT="Picture of Mup output"><BR> |
| 199 | </P> |
| 200 | <P> |
| 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 |
| 204 | <BR><PRE> |
| 205 | time=4/4 |
| 206 | beamstyle=4,4,4,4 |
| 207 | </PRE><BR> |
| 208 | then later in the piece switched to |
| 209 | <BR><PRE> |
| 210 | time=3/4 |
| 211 | beamstyle=4,4,4 |
| 212 | </PRE><BR> |
| 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. |
| 217 | </P> |
| 218 | <P> |
| 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. |
| 227 | </P> |
| 228 | <P> |
| 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. |
| 237 | <BR><PRE> |
| 238 | score |
| 239 | beamstyle=(4,4),(4,4) |
| 240 | music |
| 241 | |
| 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; |
| 244 | bar |
| 245 | |
| 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; |
| 248 | bar |
| 249 | </PRE><BR> |
| 250 | <IMG SRC="mugex25.gif" ALT="Picture of Mup output"><BR> |
| 251 | </P> |
| 252 | <H4> |
| 253 | Cross-staff beams |
| 254 | </H4> |
| 255 | <P> |
| 256 | In keyboard music, |
| 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. |
| 275 | </P> |
| 276 | <P> |
| 277 | Some examples: |
| 278 | <BR><PRE> |
| 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; |
| 281 | bar |
| 282 | </PRE><BR> |
| 283 | <IMG SRC="mugex26.gif" ALT="Picture of Mup output"><BR> |
| 284 | </P> |
| 285 | <P> |
| 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. |
| 292 | <BR><PRE> |
| 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; |
| 295 | bar |
| 296 | </PRE><BR> |
| 297 | <IMG SRC="mugex27.gif" ALT="Picture of Mup output"><BR> |
| 298 | </P> |
| 299 | <P> |
| 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> |
| 305 | or |
| 306 | <A HREF="stuff.html">a "boldital" statement.</A> |
| 307 | </P> |
| 308 | <P> |
| 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. |
| 317 | If you specify a |
| 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. |
| 323 | </P> |
| 324 | <P> |
| 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. |
| 328 | See the |
| 329 | <A HREF="invisbar.html">section on "Special uses of invisbar"</A> |
| 330 | for more details. |
| 331 | </P> |
| 332 | <P> |
| 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. |
| 337 | </P> |
| 338 | <H4> |
| 339 | Alternation |
| 340 | </H4> |
| 341 | <P> |
| 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. |
| 351 | Here is an example: |
| 352 | <BR><PRE> |
| 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. |
| 357 | 1: 2c alt 2; 2c+;2g; |
| 358 | bar |
| 359 | </PRE><BR> |
| 360 | <IMG SRC="mugex28.gif" ALT="Picture of Mup output"><BR> |
| 361 | </P> |
| 362 | <P> |
| 363 | Alternation is not allowed on cross-staff beams. |
| 364 | </P> |
| 365 | <H4> |
| 366 | Slope |
| 367 | </H4> |
| 368 | <P> |
| 369 | <A NAME="slope">On the first chord of a set of chords that are beamed together,</A> |
| 370 | you can specify a |
| 371 | beam angle from -45 to 45 degrees. |
| 372 | This will override whatever angle Mup would have used. |
| 373 | <BR><PRE> |
| 374 | 1: 8g slope 11; b; g slope 0; b; g slope -5.75; b; |
| 375 | bar |
| 376 | </PRE><BR> |
| 377 | <IMG SRC="mugex29.gif" ALT="Picture of Mup output"><BR> |
| 378 | </P> |
| 379 | <HR><P> |
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