3 //**********************************************************************
6 // This is a sample Mup input file. This file is intended to demonstrate
7 // lots of the features of Mup, including advanced features.
8 // In most cases, you'll probably only need to use a few basic features,
9 // so your input file will usually be a lot simpler.
11 //**********************************************************************
14 // header to go on first page
16 title (18) "Sample Song to Show What Mup Can Do"
17 title palatino ital (12) "This is a subtitle"
18 title "Text: Ann Onymous" "Tune: Arthur Unknown"
21 // header for subsequent pages
23 title "Sample Songs" "This is the title" "page \% of \#"
25 // footer for first page
27 // use a printing command other than "title" to show how others work
28 center nl "This is a sample of a Mup footer"
32 title (11) "Published by Arkkra Enterprises" \
33 "P. O. Box 315 Warrenville, IL 60555" \
34 "http://www.arkkra.com"
36 // footer for subsequent pages
38 print nl "This is a sample remark at the bottom of the page"
40 // top/top2/bottom/bottom2 are like header/header2/footer/footer2 except
41 // they can be changed later; for example, you could use header/header2 for
42 // the whole song, but have a new top/top2 for each section of the song.
44 // to be printed right below the header on this page (the first page)
46 title (13) "First Movement"
47 // to be printed right below the header2 on later pages
49 title "First movement"
51 // set some score-wide parameters
57 // beam things a dotted quarter at a time, and beam across rests
58 // have the main beams group together notes a dotted quarter at a
59 // time, but have subgroupings an 8th note at a time; also, beam
61 beamstyle = (8,8,8), (8,8,8), (8,8,8) r
63 // put bracket to left of top 2 staffs, and bottom 2, with labels
64 bracket = 1-2 ("Choir", "Ch"), 7-8 ("Guitar", "Gtr")
66 // put brace on keyboard's staffs
67 brace = 5-6 ("keyboard", "Kbd")
69 // bar the staffs 5 and 6 together, and 7 and 8 together
72 // put rehearsal marks in circles, instead of the default rectangles
75 // make a little smaller than normal
78 // pack notes together
82 // set the margins, allowing choice depending on whether -DBIGMARGINS
83 // is used on the command line or not
96 // make sure chord marks are a ways away from staffs
99 // make sure other things are a ways away too
102 // spread scores and staffs apart more than normal
108 // label endings above staffs that are grouped by brace or bracket
109 endingstyle = grouped
111 // use palatino fonts by default, in 14 point
112 fontfamily = palatino
116 // put lyrics in helvetica italics, 11 point
117 lyricsfontfamily = helvetica
121 // print measure numbers at the beginning of each score
122 // in Helvetica italics
123 measnumfontfamily = helvetica
128 // When there are chords, print guitar grids with them. To put them
129 // at the end of the song we would use gridsatend. If we wanted
130 // to make them bigger or smaller, we could set "gridscale".
133 // If the lowest fret used is 3 or more, use "N fr" notation instead
134 // of showing the whole guitar neck up to that point in the grid.
135 // The default value of this is 4, and it can be turned off.
139 //set some things for particular staffs
144 label = "foghorn\nin G\(smflat)"
145 staffscale = 0.8 // make this staff a little smaller
147 transpose = down dim 5
148 // make staff 3 visible only when there is something on it
151 // set different default octave
155 // make staff 4 a 1-line staff, with a "drum clef"
159 // Use three voices on staff 5. Allow the stems of the top and bottom
160 // voices (1 and 2) to float to whichever way is appropriate. (We
161 // could use 2o to force their stems to be in opposite directions.)
162 // Voice 3 is an extra voice, typically in the middle, whose stems can
169 // use dotted quarter for default time unit instead of
170 // the normal time signature denominator
177 // Make staff 8 a tablature staff for standard guitar. This
178 // automatically makes the preceding staff (7) a "tabnote" staff,
179 // meaning its notes will be derived from staff 8 automatically,
183 // make fret numbers more readable by putting a white background there
186 vscheme = 2f // allow two voices on this tab staff
189 // On staff 9, use "shaped notes". Each scale degree uses a different
190 // shape of note head.
192 noteheads = "isostri semicirc diam righttri norm rect pie"
194 // define a macro to allow saying "DRUM" instead of "4:" for the 4th staff
198 // define grids to be printed with guitar chords
200 "G:9 7" "3 x o o o 5"
204 // now do musical data
207 // put a tempo mark above staffs 1 and 6, and set MIDI tempo to 92
208 // quarter notes per minute
209 rom above 1,6 : 1 "Andante";
210 midi all: 0 "tempo = 92";
211 // set the instruments to use for MIDI
212 midi 1-2: 0 "channel=5"; 0 "program=52"; 0 "onvelocity=92";
213 midi 3: 0 "channel=6"; 0 "program=109"; 0 "onvelocity=61";
214 midi 4: 0 "channel=10"; // percussion channel
215 // set onvelocity to accent the top note
216 midi 5-6: 0 "channel=11"; 0 "program=1"; 0 "onvelocity=104,88";
217 midi 5 2: 0 "channel=11";
218 midi 7: 0 "channel=14"; 0 "program=25"; 0 "onvelocity=83";
220 // Note that lines of input within a given measure can be entered in any order.
221 // It is usually a good idea to enter music data a staff at a time from top
222 // to bottom, just to make it easy to keep track of, although Mup makes no
223 // such requirement. You may choose to intersperse other things like lyrics
224 // and phrase marks, or do them all at once before or after the music data,
225 // or in whatever order you choose.
227 // Also note that you can indent things any way you want in your Mup
228 // input file, and can put extra blank spaces almost anywhere
229 // except in the middle of a word.
231 // For MIDI purposes, the first two measures get played an extra time
232 // before the Coda, so put them inside a macro.
233 define FIRST2MEASURES
235 // staff 1, three dotted quarter notes, second chord same as the first
238 // staff 2, dotted quarter, two eighths with a rest between, dotted quarter
241 // phrase on staff 2 from beginning note to first count of next measure
242 phrase 2: 1 til 1m+1;
244 // two verses of lyrics between top two staffs
245 // use "|" to align the first syllables 8 points left of the notes' centers
246 lyrics between 1&2: 4.;;; "-8|These are the"; "-8|This is verse";
248 // a grace note and an accent on staff 3
249 3: [grace; slash 1]c#; [with >] 2.f#;4.r;
251 // measure rest for staff 4
254 // staff 5, voice 1, begins with duplet, also has a tied note
255 5 1: {4c+;g;}2,4.; 4.c+;4f+~;16;;
257 // second voice for staff 5
260 // third voice for staff 5 starts with a "space", nothing printed; force
261 // horizontal offsets (ho) on two of the notes to fine tune their spacing
262 5 3: 4.s; [ho 3.5]8e;f;g; [ho 3]an; 4;
264 // staff 6, some notes an octave or two away from the default octave
267 // put piano pedal mark at the bottom
270 // show the fret numbers on guitar strings on the tablature staff
271 8: 4. a3d1g0; 8 a3; e'3; a3; 4. d0g2b3e1;
273 // Print music theory analysis symbols at counts 1 and 7. The ":" makes the
274 // following space-separated items be stacked on top of each other.
275 rom analysis above 5: 1 "i"; 7 "VII:6 #5";
277 // print figured bass numbers below count 7; the slash goes through the "5"
278 rom figbass below 6: 7 "6 5/";
280 9: 4.c+; 8e+; c+; e+; 4.f+;
281 lyrics 9: 2.+4.; "ah_";
283 // ordinary bar line, with a reherasal letter
292 // lyrics with an underscore
293 // This time, since the time values of the lyrics match those
294 // of the music, we'll let Mup derive the time values,
295 // rather than specifying them. Notice that we are chanting multiple
296 // syllables on the last word, so we show that they are to be treated
297 // as one syllable by separating them by a special \(space) character
298 // instead of simple space.
299 lyrics between 1&2: [1] "words!_"; [2] "two\(space)oh\(space)yes.";
301 // include a note with a double flat
304 // you can specify a pitch for a 1-line staff, even though all notes will be
305 // placed on the line. The pitch will be used for MIDI output, if you use
306 // the -m option to Mup to get a MIDI file instead of printed output.
309 // because of the beamstyle setting, the 16th notes here are joined in pairs
310 // by both beams, but only one beam joins all six
312 5 2: 8e;g;e; 16g;e;g;e;g;e; 4.r;
316 // print 3 tremelo slashes on this chord
317 8: [slash 3] 2. d1g0b1e3; 4.r;
321 // at count 9.9 (almost the dblbar), back up 19 stepsizes and print this coda
322 // indication, including the actual coda symbol; do this in italics of font
323 // size 13 (but turn off the italics for the symbol), and above all the staffs
324 ital(13) all: 9.9[-19] "To coda \f(TR)\(coda)";
328 @ // end the macro definition of the first measures
329 // Now call the macro for the first measures
334 // start a new score. Normally, Mup will place things
335 // as best it can, but you can force things if you like.
338 // now more music data
342 // set location tags on the two notes, then draw a wavy line between
343 // them saying that it is a glissando
345 wavy line (h.e+3, h.y) to (k.w-3, k.y) with ital (11) "gliss."
346 2: 4.e; 8..; 32f;8g;4.c;
349 < below 2: 3 til 7.5;
351 // trill the foghorn from count 1 to 7; put a "turn" symbol above the note
352 // at count 8. For MIDI, specify exactly how to play it.
355 mussym 3: 1 "tr" til 7; 8 "turn";
357 3: 16d&;e;d;e;d;e;d;e;d;e;d;e;d;e; {d;e;d;c;d;}5;
360 4: [slash 2] 2.c; [with .]4.c-;
364 times boldital between 5&6: 7 "ff";
366 // roll up on first chord, down on second, default (up) on third
371 // the <> indicates a slur
374 // For the second note, "bend" the previous note up 1/2 step by stretching
375 // the E string. Then bend to a full step, and release back to normal.
376 8 1: 4.e5; e "1/2"; 8e "full"; 4e "";
378 // Put some notes in the second tab voice. These will be translated to the
379 // the second voice of the tabnote staff above.
382 9: 8c+; b; an; g; c; d; 4.e;
384 // chord symbols will be transposed if the music is transposed.
385 // In this particular example, transposition is not in effect
386 bold chord above all: 1 "Cm";
392 // two measures of rest
394 repeatend ending "2."
398 // From now on, staff 4 (the one-line staff) will have two voices with stems
399 // that are always opposing. Set it so that the notes will not be on the line
400 // but rather above and below it.
404 midi 4 2: 0 "channel=10";
406 // Define a macro with parameters for printing a chord name at a given count.
407 // Note that the chord name is passed in and then the ` ` cause it to be
409 define K(COUNT, NAME) bold chord all: COUNT `NAME`; @
411 // Define a "map" for chord-at-a-time input. (By "chord" here we mean a group
412 // of notes, not the symbolic chord name as above.) Since all the voices in
413 // the choir have the same rhythm from now on, it's convenient to use this
414 // method of input instead of the usual voice-at-a-time method. Set it up
415 // to enter bass and tenor on staff 2, then alto and soprano on staff 1.
416 define M [ 2; 2; 1; 1 ] @
419 K(1,Cm) // print a C minor chord at count 1
421 // assign all the notes for staffs 1 and 2, using the map. Each goes to its
422 // proper octave according to defoct.
423 M: 4.cgce; ceeg; cgce;
425 // Put phrase marks on each staff, from count 1 until count 7 of the next
426 // measure. We didn't specify "above" or "below", so Mup chooses the side.
427 phrase 1,2: 1 til 1m+7;
429 // Increase the size of the lyrics by 3 points. This will carry forward to
430 // the end of the song unless changed again. Also, use the non-ASCII
431 // character n-tilde, indicated by \(n~). If you can type non-ASCII characters
432 // directly on your keyboard, you can do that instead of using this notation.
433 lyrics between 1&2: "\s(+3)Ma-\(n~)a-na";
435 // put the last note's accidental in parentheses, since it is just a
436 // reminder to the player that this accidental is still in force
439 // Use X-shaped notes on the top voice. Use the "..." to show that this
440 // applies for the rest of this measure, not just the first chord.
441 4 1: [xnote]... 4.; ; 8;;;
444 // Beam notes together across both staffs. Set a location tag (=h) on the
445 // first note, for later use.
446 5: 4.s bm with staff below; ; 8c; e; g ebm;
447 6: 8c- =h bm with staff above; e-; g-; c; e; g; 4.s ebm;
449 8: 2. a3 d5 g5 b4 e3; 4. tie;
451 // For the last two notes, override the head shape to be a slash, to
452 // indicate repeating the first part of the measure.
453 9: 8g; e; ; [hs "slash"]... 4.b; ;
458 ital all: 1 "\[A special note, on\ntwo lines, in a box.\]";
460 lyrics between 1&2: "am gr\(o:)\(ss)t-en,"; // non-ACSII chars
463 // draw a measure repeat sign
466 // put a text string in an ellipse
467 ital 4: 1 "\{mute\}";
468 4 1: [xnote]... 4.; ; 8;;;
471 6: 8 with e+c++ above; c+ with g+ above; g with e+ above; ec+; g; e; \
472 4.c =k; // set loc tag "k"
473 8: 4. a3 d5 g5 b4 e3; 2.;
477 // Draw a curve, with endpoints based on the "=h" and "=k" location tags with
478 // vertical offsets of 11 and 8 stepsizes upwards. The curve bulges upwards
479 // 20 and 23 stepsizes 1/3 and 2/3 of the way through it.
480 medium curve (h.x, h.y + 11) to (k.x, k.y + 8) bulge 20, 23;
483 // print the chord G97, with the 9 above the 7
486 ital(15) all: 9.9[-20] "D.C. al Coda";
488 // use a C double sharp (cx) and B natural
490 lyrics between 1&2: "tr\(e`)s bien!"; // another non-ASCII character
492 4 1: 4.r; c; ; // the pitch is arbitrary except for MIDI on one-line
496 // force first note stem to point upwards, which would by default have
497 // pointed down; change clef in the middle of the measure
498 6: [up] 4.d; c; <<staff clef = treble>> d+;
500 // The first note is a "prebend" (stretch the string before plucking). On the
501 // last note, do a slide upwards after it that doesn't end at any specific note.
502 8: 4. a10 "full" b8 "full"; 4. a10 "" b8 ""; [grace] 16 e0; 4.e1 <n/>;
507 // For MIDI, insert the D.C. al Coda fragment
512 // leave a gap and start all the staffs anew, showing clefs and key signatures
516 clef = bass // change the clef back to bass
519 // override the "dist" parameter, and specify a minimum distance of 5 stepsizes
520 // from the staff for this coda sign
521 mussym(13) all dist 5: 0.5 "coda";
522 ital(15) all: 1 "Coda";
524 // at count 1 print G diminished 7 (the "o" is translated to a diminished
525 // symbol), and at count 7 print G
529 // Another duplet. If we put "n" after the first number it would prevent the
530 // bracket from being printed.
531 1: 2.d&g; { 4gbn; ; }2,4.;
533 // Draw parentheses around the one D natural. Force this duplet's bracket to
534 // be below; this one would have defaulted to above.
535 2: 2.b&f&; { 4d-n(dn)g; dbn; } below 2,4.;
537 // Print both keyboard hands on its top staff, using two voices. Since the
538 // top notes are so high, set their stems to extend only 5 stepsizes instead
539 // of the usual 7 (octave). Slur and tie the notes, using dashed or dotted
540 // rather than solid curves.
541 5 1: [len 5]... 2.g++b++d&+++f&+++ dashed slur; 4.g++bn++d+++g+++;
542 5 2: 2.gg+ dotted tie; 4.;
544 // leave staff 6 unspecified, so that it will default to a space
546 8: [slash 1] 2. e'0 a1 d2 g0 b2 e0; 4. e'3 d0 g0 b0 e3;
555 // set a time signature that combines two simple time signatures
559 // use shorthand to enter the same data for two staffs at once
562 4 1,2: mr; // measure rest on both voices of staff 4
565 // mark notes an octave lower than normal
566 octave below 6: 1 "8va" til 7.5;
568 // put a fermata above staffs 1, 2, and 4 to 6
569 mussym above 1,2,4-6: 5 "ferm";
570 // for MIDI, slow the tempo, to produce the fermata
571 midi all: 3 "tempo=50";