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Mup Text Marks
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<H2>
Text
</H2>
<P>
The four forms of Mup text statements
(rom, bold, ital, and boldital) operate identically except for the font
which is used.
</P>
<P>
The text statements can have several additional qualifiers. The first is a
fontfamily, given before the font. It can have any of the values of
<A HREF="param.html#fontfam">the "fontfamily" parameter</A>
(avantgarde, bookman, courier, helvetica,
newcentury, palatino, or times), with the default being the value of
the "fontfamily" parameter.
</P>
<P>
The next optional qualifier is a
point size, given in parentheses after the font type of rom, bold, etc.
If this is omitted, the size is obtained from
<A HREF="param.html#size">the "size" parameter</A>
for the given staff, or for the score if the staff is specified by "all."
</P>
<H3>
Chord, analysis, figured bass, and dynamics
</H3>
<P>
<A NAME="chordmod">The final optional qualifier specifies special treatment of the text.</A>
The qualifier can be "chord", "analysis", "figbass", or "dyn".
The "chord" modifier is typically used for marking chords that might be
played by a guitar or other instrument. The "analysis" modifier is
typically used when marking harmonic analysis like "IV" or "vii".
The "figbass" modifier is for figured bass notation.
For all three, distance from the staff is affected by
<A HREF="param.html#chdist">the "chorddist" parameter.</A>
The "dyn" modifier is to mark the text as something that specifies
dynamics. Mup only uses it when deciding where to place the text;
something marked "dyn" will be treated like crescendo
and decrescendo "hairpins."
The default <I>place</I> for chord and dyn is above, whereas the default
for the others is below.
</P>
<P>
The text strings used with these chord, analysis, or figbass modifiers can
contain any characters, but
characters that indicate accidentals ("#", "&", "x", "&&", and "n")
are translated to the appropriate music character, while "o", "o/",
and "^" are translated to "\(dim)", "\(halfdim)", and "\(triangle)"
respectively. However, with "chord," the
translation of "n" to natural sign is not done, so you have to
use \(nat) if you want a natural sign. This is because a literal letter n
tends to occur more often in chords than natural signs.
</P>
<P>
If you want to turn off the translation, to treat one of these characters
literally, you can precede it with two backslashes.
Thus, for example, "\\&" would yield a literal ampersand rather than
a flat symbol.
</P>
<P>
If the
<A HREF="param.html#xpose">transpose</A>
or
<A HREF="param.html#addxpose">addtranspose</A>
parameters are set, chords are transposed to match the new key:
the letters "A" through "G"
and any following accidentals will be transposed appropriately.
The accidental can be either something like "#" or "&" or any of the special
<A HREF="textstr.html#symlist">music characters</A>
for accidentals (\(sharp), \(flat), etc.).
If the staff is specified as "all," the score transposition value is used.
Transposition has no effect on analysis or figbass.
</P>
<P>
In figbass, the string starts out in piled mode, which means that
each space in the input string will cause a new line on output, and,
unless you specify other alignment, each line will be aligned on
the last digit in the line. Also, the meanings of
/ and \/ are reversed from the normal meaning. This is done since
drawing a slash through a number is very common in
figured bass, so you can just use a / to indicate this,
but if you really want a real slash,
you can still get one by entering \/.
</P>
<P>
With all three special qualifiers, the usual meanings
of : and \: are reversed. This is
because piling is very common in these strings, so it's handier to just
put a : to indicate this, and for those rare cases when you want a
literal colon, you can still get one by entering a \:.
</P>
<P>
Here is an example showing chord, analysis, and figbass:
<BR><PRE>
1: egc+;dgb;dfa;dgb;
bold chord above 1: 1 "C"; 2 "G"; 3 "Dm"; 4 "G";
rom analysis below 1: 1 "I"; 2 "V"; 3 "ii"; 4 "V";
bar
1: egc+;dgb;df#a;dgb;
rom figbass below 1: 1 "6 3"; 2 "6 4"; 3 "3/"; 4 "6 4";
bar
1: 1cegb;
rom chord above 1: 1 "C^7";
bar
1: 1ce&g&b&;
rom chord above 1: 1 "Co/";
bar
1: 1ce&g&b&&;
rom chord above 1: 1 "Co:7";
bar
1: 1e&g&b&;
rom chord above 1: 1 "E&m";
bar
</PRE><BR>
<IMG SRC="mugex74.gif" ALT="Picture of Mup output"><BR>
</P>
<P>
If a music symbol occurs inside an ital or boldital string,
<A NAME="italmus">the music symbol will automatically be made italics,</A>
to match the rest of the string.
</P>
<P>
It is possible to supply a duration on text statements. When this is done,
Mup will draw a dashed line from the end of the text to the
end of the duration.
This may be useful if you want to indicate how long
an action such as an accelerando or crescendo is to last.
If the last character of the string is a "~",
a wavy line will be drawn instead of a dashed line.
If the last character of the string is an underscore, an underscore
line will be drawn.
</P>
<P>
Here are some examples of text:
<BR><PRE>
1: e;g;b;d+;
2: 2e;b-;
rom (12) above 1: 0 "Andante ( \(smup4n) = 88 )";
boldital (12) below 1: 1 "mf"; 3.5 "mp";
newcentury bold (12) chord above 1: 1 "E&7"; 3 "B&9";
ital between 1&2: 2 "rit.";
palatino ital below 2: 2 "cresc." til 1m+2;
bar
1: 1egc+;
2: 1c;
bold (12) chord above 1: 1 "Cm";
bar
</PRE><BR>
<IMG SRC="mugex75.gif" ALT="Picture of Mup output"><BR>
</P>
<H2>
Grids
</H2>
<P>
<A NAME="grids">If the</A>
<A HREF="param.html#gridused">gridswhereused parameter</A>
is set to "y" chords will also have a grid printed.
For this to work, a grid with the same name as the chord must be
defined in "grids" context elsewhere in the input file.
</P>
<P>
The grids context contains lines each consisting of two text strings.
The first is the name of the chord, matching the name you want to
use in printing text with the "chord" qualifier. The second describes
the fret pattern for that chord. It is a space-separated list, with
each list element being either a fret number from 1 to 99, which will result in
a dot being printed at that fret, or an "o" or "x"
which will result in a circle or x respectively being printed above the
grid, or a "-" in which case no mark at all will be made.
The fret pattern may also contain an open and closing
parenthesis to mark where a curve is to be drawn, indicating the use
of a single finger to span several strings. For example:
<BR><PRE>
score
gridswhereused=y
gridfret=3
grids
"C" " - 3 2 o 1 o "
"C5" " - 3 x o 1 3 "
"Em" " o 2 2 o o o "
"A&" "(4 6 6 5 4 4)"
"A11" " - o o o o o "
music
rom chord 1: 1 "C"; 2 "C5"; 3 "Em";
1: 2c;e;
bar
rom chord 1: 1 "A&"; 3 "A11";
1: 2a&;an;
bar
</PRE><BR>
<IMG SRC="mugex76.gif" ALT="Picture of Mup output"><BR>
</P>
<P>
If
<A HREF="param.html#xpose">transposition</A>
is in effect,
the chord names in the grids context have to match the transposed names.
So, for example, if you use an "A" chord in a chord statement, then
transpose the staff up a major second, Mup will look for and use the grid
definition called "B" to match the transposed chord name.
</P>
<P>
If you supply more than one grid definition for the same chord name,
Mup uses the last one. This allows you to easily
<A HREF="include.html">"include" a file</A>
of standard chords, but override a few of them with a special fingering for a
particular song. If you really want to use more than one fingering in
different places in the same song for the same chord name, you need to make
the names look different, so Mup will treat them as different chords.
One way to do this would be to put a space and backspace in the name.
So, for example, "Am" and "Am \b" would count as separate chords and could
have different grid definitions, but the chord names would still look
the same on output.
</P>
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