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+ ++Each measure must be ended with a "bar" of some kind. There are several kinds: +
Keyword | Meaning | +
bar | ordinary bar line | +
dblbar | double bar | +
repeatstart | beginning of repeated section | +
repeatboth | end of one repeated section and beginning of another | +
repeatend | end of repeated section | +
endbar | heavy double bar line used at end of song | +
invisbar | no bar line printed | +
restart | end staffs and begin anew | +
+In addition, the bar and dblbar types can be preceded +by the word "dashed" or "dotted" to produce dashed or dotted bar lines. +
+
+
+1: mr; +bar +1: mr; +dblbar +1: mr; +dashed bar +1: mr; +dotted dblbar +1: mr; +repeatstart +1: mr; +repeatboth +1: mr; +repeatend +1: mr; +endbar +
+When a repeatstart would end up at the end of a score,
+it will automatically get moved to the beginning of the following score.
+In that case, it isn't clear what kind of bar line you would like to
+have put at the end of the original score. By default, Mup will use
+an ordinary bar, but in some cases--like if the repeatstart begins
+a new section, or there is also a key change--you might want to have
+a dblbar instead. You can get a dblbar there by specifying dblbar in
+parentheses before the repeatstart:
+
+(dblbar) repeatstart +
+Sometimes music is printed without bar lines. The "invisbar" can be used in +this case, to fulfill Mup's requirement to specify some sort of bar after +every measure without actually printing bar lines. +
+
+The restart is a special kind of bar. It follows immediately after another
+bar line without any intervening music data. (That is, you can't have
+any notes. You can use score or staff context things, like changing time or
+key signature.) It would be most commonly used for something like a short coda.
+
+score + staffs=2 + brace=1-2 +staff 2 + clef=bass +music + +1-2: c;d;e;f; +rom above 1: 3 "D.C. al Coda"; +dblbar + +// The restart follows a bar +// without any music data in between. +restart + +rom above 1: 1 "Coda"; +1-2: f;e;d;c; +endbar +
+There are several optional directives that can follow the bar line keyword. +They can be specified in any order and are described below. +
+
+One optional directive is padding.
+It can be used to force Mup to place extra white space to
+the left of the bar line. It is specified by the keyword "pad" followed
+by a number of stepsizes of padding to add. For example:
+
+dblbar pad 3 +
+It is also possible to associate a
+location tag
+with a bar line.
+For example:
+
+// Associate tag "_bar6" with bar line +bar =_bar6 + +// Do double bar with an extra stepsize of +// padding, and associate tag "q" +// with the bar line +dblbar pad 1 =q +
+The y coordinate of a bar line is not very useful. Special rules apply if +a bar line happens to be placed at the end of a score. Any locations taken +relative to the bar that would be to the right of the bar are treated as +if the bar line were at the beginning of the following score, +just beyond the clef and time and key signatures, if any. +
+
+First and second endings, etc. can be designated at bar lines.
+This is done with the keyword "ending," followed by a
+quoted string to use as the label for the ending that should begin at the
+bar line. An ending will span bars until either another ending is specified,
+the piece ends, or the
+special keyword "endending" is used. Examples:
+
+bar ending "1." +repeatend ending "2-3" +endbar endending +
+The ending label will always be +forced into 12 point times roman font. If you change font or size or include +special characters in the ending label, +the output is not likely to be aligned properly. +
++The "endingstyle" parameter +controls where endings are placed. +Endings cannot start at or cross over a restart bar. +
+
+Rehearsal letters or numbers
+can be specified on any bar line. There are four formats:
+
+rehearsal let
+
+rehearsal num
+
+rehearsal mnum
+
+rehearsal "label"
+
+In the first example, a rehearsal letter will be placed on the bar. The
+first occurrence of this will become rehearsal "A", the next "B", and so
+forth. The second format works in a similar fashion except that numbers are
+used rather than letters. With the third format, the current measure
+number is used. With the last format, any arbitrary string
+within the quotes will be used. The keyword "rehearsal" can be
+abbreviated to "reh" if you wish. Only one rehearsal mark is allowed on
+any one bar, but the types can be mixed throughout the composition.
+(Note that mixing "num" with "mnum" is likely to be very confusing, however.)
+The rehearsal marks can be intermixed with other bar options:
+
+1: 1c; +dblbar reh num ending "1" +1: 1e; +repeatend pad 1 =_xyz reh let ending "2." +1: 1g; +bar rehearsal "Duet" +1: 1ce; +endbar endending +
+The rehearsal marks are normally put directly above the bar +line. However, if the bar line falls at the end of a score, the rehearsal +mark will be placed at the beginning of the following score, after the +clef, +key signature, +and +time signature. +The "endingstyle" parameter +is used to determine which staffs get rehearsal marks. +The "rehstyle" parameter +specifies whether to put rehearsal marks inside a box or a circle +or leave them plain. +
+
+The rehearsal keyword may be followed by a specification for fontfamily,
+font, and/or (size).
+Once specified, these remain in effect
+for any future rehearsal marks, until explictly changed. Some examples:
+
+bar rehearsal helvetica bold (14) let +repeatend reh newcentury num +invisbar reh rom (10) mnum +
+After all the options listed above, you may specify "dist N" where
+N is some number of stepsizes. This will override the
+dist parameter
+for determining how close to the staff to place the rehearsal mark.
+If the number is followed by a "!" Mup will place the mark exactly
+that far from the top of the staff, even if it overwrites other things;
+otherwise the value specifies a minimum distance.
+
+rehearsal num dist 5 // at least 5 stepsizes away +reh bold "A1" dist 2 ! // exactly 2 stepsizes away +
+Mup keeps track of
+measure numbers
+automatically, but sometimes you may want
+to override this to set the current measure number to some specific value.
+This is done by adding mnum=number on a bar line,
+which will set the current measure number to the given number.
+
+// Set the current measure number to 50 +dblbar mnum=50 +
+If you are using the "rehearsal let" or "rehearsal num" styles, +you can set those to specific values too, similarly to how mnum can be set. +This might be useful, for example, if you have a single input file that +contains multiple songs or movements, and you want the rehearsal marks +to start over at the beginning of each song or movement. +
+
+The rehearsal number can be set on any bar line using num=N, where
+N is a number, typically 1.
+
+bar num=1 +
+dblbar let="A" reh let +
+Generally in printed music, when a
+time signature
+or key signature
+change occurs at the beginning of a score, these changes are also printed at
+the very end of the previous score,
+to make it clear there is a change coming up.
+Mup normally does this, but occasionally you may not want that behavior.
+Sometimes you may want to make a new score appear like the beginning
+of a new piece. If you wish to suppress the printing of time signature,
+key signature, and clef
+changes at the end of the preceding score,
+you can use the "hidechanges"
+keyword on the bar line at which the changes occur.
+Hidechanges cannot be used on a restart bar.
+
+1: c;d;e;f; +bar +// change time/key with normal treatment + +newscore +score time=5/4 ; key = 1& +music +1: d;e;f;2g; +// don't show changes at end of previous score +bar hidechanges + +newscore + +score time=6/4 ; key = 2# +music +1: d;e;f;2.g; +bar +