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16 The four forms of Mup text statements
17 (rom, bold, ital, and boldital) operate identically except for the font
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.
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."
36 Chord, analysis, figured bass, and dynamics
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.
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.
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
73 <A HREF="param.html#xpose">transpose</A>
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.
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 \/.
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 \:.
104 Here is an example showing chord, analysis, and figbass:
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";
111 1: egc+;dgb;df#a;dgb;
112 rom figbass below 1: 1 "6 3"; 2 "6 4"; 3 "3/"; 4 "6 4";
116 rom chord above 1: 1 "C^7";
118 1: 1ce&g&b&;
119 rom chord above 1: 1 "Co/";
121 1: 1ce&g&b&&;
122 rom chord above 1: 1 "Co:7";
124 1: 1e&g&b&;
125 rom chord above 1: 1 "E&m";
128 <IMG SRC="mugex69.gif" ALT="Picture of Mup output"><BR>
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.
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
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
147 Here are some examples of text:
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;
159 bold (12) chord above 1: 1 "Cm";
162 <IMG SRC="mugex70.gif" ALT="Picture of Mup output"><BR>
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.
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:
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 "
198 rom chord 1: 1 "C"; 2 "C5"; 3 "Em";
202 rom chord 1: 1 "A&"; 3 "A11";
206 <IMG SRC="mugex71.gif" ALT="Picture of Mup output"><BR>
210 <A HREF="param.html#xpose">transposition</A>
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.
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
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