811 lines
28 KiB
TeX
811 lines
28 KiB
TeX
%\iffalse
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%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
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%% musixcrd - typsetting chord symbols with %%
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%% musixtex %%
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%% main source file contains code, doc, and examples %%
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%% $Id$ %%
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%% copyright 2004 , Robert Hennig %%
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%% this code is licensed in terms of the %%
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%% GNU Public License %%
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%% %%
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%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
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%\fi
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\ifx\makeatletter\undefined\def\makeatletter{\catcode`\@=11\relax}\fi
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\ifx\makeatother\undefined\def\makeatother{\catcode`\@=12\relax}\fi
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\makeatletter% ^^A allows to use @ as ordinary letter
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%
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% \def\backslash{\tt\char'134}
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% \def\musixtex{MusiX\TeX}
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% \def\musixcrd{MusixCrd}
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% \def\crdexample#1{{\tt\backslash c #1 }$\rightarrow$ \c #1 \medskip}
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% \def\pmx{PMX}
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% \title{
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% {\bf \musixcrd} \\
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% --- Typesetting Chord Symbols with \musixtex --- \\
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% Version 1.1 \\
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% {\large $Revision$}}
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%
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% \author{Robert Hennig\thanks{robert.hennig@freylax.de}}
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% \maketitle
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% \tableofcontents
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%
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% \section{Usage}
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% This package was written to ease the typesetting of chord symbols
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% for music scores.
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% One point of focus was that the user should have not to much to type
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% if placing the cord. So one macro will be used which takes characters
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% as argument which describe the chord to type. \par
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% Thought the syntax of the chord description could easily be altered they
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% should become somewhat stable whereas the output format can be adapted to
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% individual needs.
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% Further the notenames can be transposed, so transposing a music piece
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% with chord symbols can be done easily. \par
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% The package can be used with \musixtex\ and \pmx\
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% -- which also gave the idea for the usage of an short chord--description
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% `language'.
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% \footnote{If the default output functions are changed the package could
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% also be used with \TeX{} and \LaTeX{} alone.}
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% \par
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%
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% \DescribeMacro{\c}
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% The main macro which the package defines is
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% \verb*|\c |\synt{chord-list}\verb*| |. The argument is an space
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% terminated \synt{chord-list}
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% \footnote{This form of argument was choosen because it leads to a
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% short notation inside \pmx\ e.g.: \\
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% {\tt \backslash c AfM \backslash\ e8 f g4 \backslash c Gm7 \backslash\ b4 g}
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% }.
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% \begin{demo}[w]{\musixtex}
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% \nobarnumbers
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% \startextract
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% \NOtes\c CM7 \hu e\c Dm7 \hu f\en\bar
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% \NOTEs\c Ch/E \hu g\c F6/A \hu h\en\bar
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% \NOtes\c 0-1E7/G \hl i\c Fd/Af \hl j\en
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% \endextract
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% \end{demo}
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%
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% \subsection{Syntax}
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% \begin{grammar}
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% <empty> ::= `'
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%
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% <digit> ::= `0' | `1' | `2' | `3' | `4' | `5' | `6' | `7' | `8' | `9'
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%
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% <number> ::= <digit> | `-' <digit>
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%
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% <vertical-shift> ::= <number> | <empty>
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%
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% <horizontal-shift> ::= <number> | <empty>
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%
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% <note-base-name> ::= `C' | `D' | `E' | `F' | `G' | `A' | `B'
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%
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% <accidental> ::= `s' | `f' | `ds' | `df'
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%
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% <note-name> ::= <empty> | <note-base-name>
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% | <note-base-name> <accidental>
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%
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% <chord-qualifier> ::=
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% `m' | `d' | `h' | `M' | `4' | `+5' | `-5' | `6' | `7' | `-9' | `+9'
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%
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% <chord-qualifier-list> ::= <empty>
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% | <chord-qualifier> <chord-qualifier-list>
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%
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% <begin-bass-note> ::= <empty> | `/'
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%
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% <chord> ::= <vertical-shift> <horizontal-shift> \\
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% <note-name> <chord-qualifier-list> \\
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% <begin-bass-note> <note-name> <chord-qualifier-list>
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%
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% <chord-list> ::= <chord-list> `,' <chord-list> | <chord> | <empty>
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% \end{grammar}
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%
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%
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% \subsection{Semantics}
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% \paragraph{\synt{vertical-shift}}
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% \DescribeMacro{\crddefaultheight}
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% Adjustment of the vertical chord position in internotes,
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% relative to the default value defined with
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% \verb*|\crddefaultheight|. You may change this default within
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% your sheet.
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% \begin{macrocode}
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\def\crddefaultheight{10}
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% \end{macrocode}
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% \paragraph{\synt{horizontal-shift}}
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% Horizontal adjustment in multiples of \verb*|\elemskip|.
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%
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% \paragraph{\synt{accidental}}
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% Allowed accidentals are: sharp, flat, double-sharp, double-flat.
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%
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% \paragraph{\synt{note-name}}
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% \DescribeMacro{\crdtranspose}
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% The given note names are transposed by the number of quint steps
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% given in \verb*|\crdtranspose|. You may change this value within
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% your sheet.
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% \begin{macrocode}
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\def\crdtranspose{0}
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% \end{macrocode}
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% \paragraph{\synt{chord-qualifier}}
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% Currently known qualifiers are:
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% \begin{description}
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% \item[m] minor
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% \item[d] diminished
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% \item[h] half-diminished
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% \item[M] major
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% \item[4] suspended fourth
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% \item[+5] augmented fifth
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% \item[-5] diminished fifth
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% \item[6] 6th
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% \item[7] 7th
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% \item[9] 9th
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% \item[-9] diminished 9th
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% \item[+9] augmented 9th
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% \end{description}
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% Note that the syntax is independent of the visualization
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% of the qualifier so different chord styles could be applied.
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%
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% \paragraph{\synt{begin-bass-note}}
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% Use the `/' symbol to skip the \synt{note-name} and
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% \synt{chord-qualifier-list} to allow the notation of
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% bass-notes without chord-notes.
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%
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% \paragraph{\synt{chord-list}}
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% With `,' separated chords are spread evenly
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% within one bar. Use this notation if the horizontal positions
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% of the chords do not line up with the notes.
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%
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%
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%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
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% \section{Implementation}
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% \subsection{Input Guard}
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% To prevent repeated defenition of the main macros
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% we end the inclusion of this file if we already now
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% about our macros.
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% \begin{macrocode}
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\ifx\crd@parser\undefined\else\makeatother\endinput\fi%
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% \end{macrocode}
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% \subsection{List Macros}
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% For the parsing of the chord description some macros are needed which
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% can do simple string operations. \medskip \\
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% \DescribeMacro{\crd@append}
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% \syntax{"\\crd@append"<tokens-a>"\\to"<tokens-b>}\\
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% Append \synt{tokens-a} to \synt{tokens-b}.
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% \begin{macrocode}
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\def\crd@append#1\to#2{%
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\toks0=\expandafter{#1}\toks2=\expandafter{#2}%
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\edef#2{\the\toks2 \the\toks0}}
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% \end{macrocode}
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% \DescribeMacro{\crd@prepend}
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% \syntax{"\\crd@prepend"<tokens-a>"\\by"<tokens-b>}\\
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% Prepend \synt{tokens-a} by \synt{tokens-b}.
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% \begin{macrocode}
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\def\crd@prepend#1\by#2{%
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\toks0=\expandafter{#1}\toks2=\expandafter{#2}%
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\edef#1{\the\toks2 \the\toks0}}
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% \end{macrocode}
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% \DescribeMacro{\crd@movetoken}
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% \syntax{"\\crd@movetoken"<tokens-a>"\\to"<tokens-b>}\\
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% Move the first token of \synt{tokens-a} to the front of
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% \synt{tokens-b}.
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% \begin{macrocode}
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\def\crd@movetoken#1\to#2{%
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\ifx#1\empty\else\expandafter\crd@moveoff#1\crd@moveoff#1#2\fi}%
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\def\crd@moveoff#1#2\crd@moveoff#3#4{\def#3{#2}\crd@prepend#4\by#1}
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% \end{macrocode}
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% \begin{demo}[w]{test}
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% \makeatletter
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% \def\l{oo} (\l) %
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% \crd@append{ns}\to\l append:(\l) %
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% \crd@prepend\l\by{sp} prepend:(\l)\\%
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% \def\swap#1#2{(#1,#2) %
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% \ifx#1\empty\else\crd@movetoken#1\to#2\swap#1#2\fi}
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% \def\r{} movetoken:\\ \swap\l\r
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% \makeatother
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% \end{demo}
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%
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% \subsection{Parsing}
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% To describe the syntatic items which exists for a distinct semantic
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% a \synt{syntax-table} is used.
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% For each item exists a coresponding macro which will be executed
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% if it name matches. The name of the item consists of the
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% \synt{syntax-table} name and the \emph{reverse} syntax of this item. \par
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%
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% \DescribeMacro{\crd@parse}
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% The \syntax{"\\crd@parse"<tokens>"\\for"<syntax-table>} macro is used
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% to test if the first part of \synt{tokens} has matches for the longest
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% possible item described in \synt{syntax-table}.
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% If an item matched its macro will be expanded and
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% and the tokens of the item are cut of from the given \synt{tokens}.
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% \DescribeMacro{\crd@parsematched}
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% The conditional \verb|\crd@parsematched| is true if an item matched and
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% false otherwise.
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%
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% \begin{macrocode}
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\newif\ifcrd@parsematched% true if parse matched
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\newcount\crd@parsedepth% internal register
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\def\crd@parse#1\for#2{% parse tokens #1 for occurence of items of table #2
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\crd@parsedepth=1 % default if not defined
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\expandafter\ifx\csname#2depth\endcsname\relax\else%
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\crd@parsedepth=\csname#2depth\endcsname%
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\fi%
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\def\stack{}%\def\crd@parseresult{}
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\crd@parsematchedfalse% initialisation
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\crd@parser#1\for#2% call the recursive part
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}
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\def\crd@parser#1\for#2{% recursive part of parser
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\ifx#1\empty\else% is list filled ?
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\ifnum\crd@parsedepth>0 % and do we have to read more chars into stack
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\advance\crd@parsedepth by-1 %
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\crd@movetoken#1\to\stack%
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\crd@parser#1\for#2% recursive call
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\ifcrd@parsematched\else% if still not matched
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\expandafter\ifx\csname#2\stack\endcsname\relax% does item match
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\crd@movetoken\stack\to#1% no match, put char back to source
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\else% match
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\csname#2\stack\endcsname%
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\crd@parsematchedtrue% signal success
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\fi%
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\fi%
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\fi%
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\fi%
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}
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% \end{macrocode}
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% For an example suppose that we want to express the
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% semantic \synt{bool} by the following grammar:
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% \begin{grammar}
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% <bool> ::= `y' | `n' | `yes' | `no'
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% \end{grammar}
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%
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% \begin{demo}[w]{bool}
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% \def\bool{bool} % syntax-table with name `bool'
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% \def\booldepth{3} % max length of text to looking for is 3
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% \def\booly{true}
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% \def\booln{false}
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% \def\boolsey{true*} % reverse syntax !!!
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% \def\boolon{false*} % reverse syntax !!!
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% \makeatletter
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% \def\p#1{ (#1) \crd@parse#1\for\bool : (#1)\\}
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% \makeatother
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% \def\l{nonyyestest} \p\l\p\l\p\l\p\l\p\l
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% \end{demo}
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%
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%
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% \subsection{Chord parsing}
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% \subsubsection{Vertical and Horizontal shifting}
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% \begin{macrocode}
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\newcount\crd@vshift%
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\newcount\crd@hshift%
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\def\crd@number{crd@number}%
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\def\crd@numberdepth{2}%
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\expandafter\def\csname\crd@number0\endcsname{\crd@numberval=0 }%
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\expandafter\def\csname\crd@number1\endcsname{\crd@numberval=1 }%
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\expandafter\def\csname\crd@number2\endcsname{\crd@numberval=2 }%
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\expandafter\def\csname\crd@number3\endcsname{\crd@numberval=3 }%
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\expandafter\def\csname\crd@number4\endcsname{\crd@numberval=4 }%
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\expandafter\def\csname\crd@number5\endcsname{\crd@numberval=5 }%
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\expandafter\def\csname\crd@number6\endcsname{\crd@numberval=6 }%
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\expandafter\def\csname\crd@number7\endcsname{\crd@numberval=7 }%
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\expandafter\def\csname\crd@number8\endcsname{\crd@numberval=8 }%
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\expandafter\def\csname\crd@number9\endcsname{\crd@numberval=9 }%
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\expandafter\def\csname\crd@number1-\endcsname{\crd@numberval=-1 }%
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\expandafter\def\csname\crd@number2-\endcsname{\crd@numberval=-2 }%
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\expandafter\def\csname\crd@number3-\endcsname{\crd@numberval=-3 }%
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\expandafter\def\csname\crd@number4-\endcsname{\crd@numberval=-4 }%
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\expandafter\def\csname\crd@number5-\endcsname{\crd@numberval=-5 }%
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\expandafter\def\csname\crd@number6-\endcsname{\crd@numberval=-6 }%
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\expandafter\def\csname\crd@number7-\endcsname{\crd@numberval=-7 }%
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\expandafter\def\csname\crd@number8-\endcsname{\crd@numberval=-8 }%
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\expandafter\def\csname\crd@number9-\endcsname{\crd@numberval=-9 }%
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\def\crd@bracketinit{%
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\def\crd@bracketopen{}%
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\def\crd@bracketclose{}%
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}
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\def\crd@bracket{crd@bracket}%
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\def\crd@bracketdepth{1}%
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\expandafter\def\csname\crd@bracket(\endcsname{%
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\crd@append(\to\crd@bracketopen}%
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\expandafter\def\csname\crd@bracket)\endcsname{%
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\crd@append)\to\crd@bracketclose}%
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% \end{macrocode}
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% \subsubsection{Notes and Accidentals}
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% \paragraph{Syntax}
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% In order to allow transposition of notes we use the circle of fifth
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% for representing notes.
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% \DescribeMacro{\crd@quintval}
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% The syntax table \verb|\crd@quintval| contains the mapping from note
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% names to the note position in the circle of fifth. \\
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% \DescribeMacro{\crd@quint}
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% The count register \verb|\crd@quint| is used to receive the result.
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% \begin{macrocode}
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\newcount\crd@quint% register used to represent notes in the circle of
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\def\crd@quintval{crd@quintval}%
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\def\crd@quintvalA{\crd@quint=3 }% A
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\def\crd@quintvalB{\crd@quint=5 }% B
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\def\crd@quintvalC{\crd@quint=0 }% C
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\def\crd@quintvalD{\crd@quint=2 }% D
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\def\crd@quintvalE{\crd@quint=4 }% E
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\def\crd@quintvalF{\crd@quint=-1 }% F
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\def\crd@quintvalG{\crd@quint=1 }% G
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% \end{macrocode}
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% \DescribeMacro{\crd@quintmod}
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% The modification of the note position in the circle of fifth
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% which is caused by the accidentals is coded in the
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% \verb|\crd@quintmod| syntax table.
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% \begin{macrocode}
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\def\crd@quintmod{crd@quintmod}
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\def\crd@quintmoddepth{2}
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\def\crd@quintmods{\advance\crd@quint by7 }% sharp
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\def\crd@quintmodf{\advance\crd@quint by-7 }% flat
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\def\crd@quintmodsd{\advance\crd@quint by14 }% double sharp
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\def\crd@quintmodfd{\advance\crd@quint by-14 }% double flat
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% \end{macrocode}
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% \paragraph{Notenames and accidental symbols}
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% After transpositon and enharmonic adaption an reverse mapping
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% from the circle of fifth to notenames and accidentals is needed.
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% \DescribeMacro{\crd@note}
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% The mapping from circle of fifth to notenames without accidentals
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% is specified in the \verb|\crd@note| table.
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% \DescribeMacro{\crd@notelow}\DescribeMacro{\crd@notehigh}
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% In addition we need to now where the notes without accidentals
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% start and end which is defined in \verb|\crd@notelow| and
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% \verb|crd@notehigh|.
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% \begin{macrocode}
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\def\crd@note{crd@note}
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\expandafter\def\csname\crd@note3\endcsname{A}
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\expandafter\def\csname\crd@note5\endcsname{B}
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\expandafter\def\csname\crd@note0\endcsname{C}
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\expandafter\def\csname\crd@note2\endcsname{D}
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\expandafter\def\csname\crd@note4\endcsname{E}
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\expandafter\def\csname\crd@note-1\endcsname{F}
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\expandafter\def\csname\crd@note1\endcsname{G}
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\def\crd@notelow{-1} % lowest quint without accidental
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\def\crd@notehigh{5} % highest quint without accidental
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% \end{macrocode}
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%
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% \DescribeMacro{\crd@sharp}\DescribeMacro{\crd@flat}
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% \DescribeMacro{\crd@doublesharp}\DescribeMacro{\crd@doubleflat}
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% The following macros define the representation of the
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% (default) accidentals.
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% \begin{macrocode}
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\def\crd@sharp{\sharp}
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\def\crd@flat{\flat}
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\def\crd@doublesharp{\sharp\sharp}
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\def\crd@doubleflat{\flat\flat}
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% \end{macrocode}
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% \paragraph{Parsing}
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% \DescribeMacro{\crd@input}
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% The following functions read their input from \verb|\crd@input|.\\
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% \DescribeMacro{\crd@parsenote}
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% The \syntax{"\\crd@parsenote"<note><accidental>}
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% macro parses the input \verb|\crd@input| and if note and
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% accidental could be detected the transposed note position
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% in the circle of fifth will be calculated, transposed and
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% adapted using the \verb|\crd@enharmonic| macro.
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% Then the position in the circle of fifth is calculated back
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% to the \synt{note} and \synt{accidental} representation which
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% is stored in the arguments.
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% \begin{macrocode}
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\def\crd@parsenote#1#2{% parse input results: #1
|
|
\def#1{}\def#2{}%
|
|
\crd@parse\crd@input\for\crd@quintval%
|
|
\ifcrd@parsematched% we got an valid note
|
|
\crd@parse\crd@input\for\crd@quintmod%
|
|
\advance\crd@quint by\crdtranspose \relax% transposition, space is needed!
|
|
\crd@enharmonic%
|
|
\ifnum\crd@quint>\crd@notehigh % sharps ?
|
|
\advance\crd@quint by-7 %
|
|
\ifnum\crd@quint>\crd@notehigh % double sharp ?
|
|
\advance\crd@quint by-7 %
|
|
\ifnum\crd@quint>\crd@notehigh % too much sharps !
|
|
\relax ERROR:too much sharps%
|
|
\else\edef#2{\crd@doublesharp}\fi%
|
|
\else\edef#2{\crd@sharp}\fi%
|
|
\fi%
|
|
\ifnum\crd@quint<\crd@notelow % flats ?
|
|
\advance\crd@quint by7 %
|
|
\ifnum\crd@quint<\crd@notelow % double flat ?
|
|
\advance\crd@quint by7 %
|
|
\ifnum\crd@quint<\crd@notelow % too much flats !
|
|
\relax ERROR:too much flats%
|
|
\else\edef#2{\crd@doubleflat}\fi%
|
|
\else\edef#2{\crd@flat}\fi%
|
|
\fi%
|
|
\expandafter\ifx\csname\crd@note\number\crd@quint\endcsname\relax%
|
|
ERROR:notename for (\number\crd@quint) is not defined.
|
|
\fi%
|
|
\edef#1{\csname\crd@note\number\crd@quint\endcsname}% set note
|
|
\fi%
|
|
}
|
|
% \end{macrocode}
|
|
%
|
|
%
|
|
% \DescribeMacro{\crd@enharmonic}
|
|
% To allow different enharmonic adaptions the \verb|\crd@enharmonic|
|
|
% macro is provided which default behaviour is to do nothing.
|
|
% \begin{macrocode}
|
|
\def\crd@enharmonic{}%
|
|
% \end{macrocode}
|
|
%
|
|
% \begin{demo}[w]{noteparsing}
|
|
% \makeatletter
|
|
% \def\parsenoter{\crd@parsenote\n\a%
|
|
% \ifx\n\empty\else{\crd@notetype\n\a}\parsenoter\fi}%
|
|
% \def\parsenotes#1{%
|
|
% \let\crd@flat=\crd@noteflat%
|
|
% \let\crd@sharp=\crd@notesharp%
|
|
% \def\crd@input{#1}\parsenoter}
|
|
% \makeatother
|
|
%
|
|
% \parsenotes{CDfDEfEFFsGAfAsB}
|
|
% \end{demo}
|
|
%
|
|
%
|
|
% \subsubsection{Chord Qualifiers}
|
|
% To cover a broad range of different styles for setting chord qualifiers
|
|
% the design is open for extensions. For the sake of demonstration and
|
|
% simple usability an default implementation is provided and discussed
|
|
% furtherwards. \\
|
|
% Suppose we want to distinguish 3 different kinds of qualifiers,
|
|
% some go down, some go up and alterations are put in brackets.
|
|
% \DescribeMacro{\crd@qualinit}
|
|
% We choose to use 3 lists (macros) to hold the parsing results.
|
|
% For initialisation of these lists the \verb|\crd@qualinit| macro
|
|
% has to be implemented.
|
|
% \begin{macrocode}
|
|
\def\crd@qualinit{%
|
|
\def\crd@lo{}% lower extensions
|
|
\def\crd@up{}% upper extensioins
|
|
\def\crd@alt{}% alterations
|
|
}
|
|
% \end{macrocode}
|
|
% \DescribeMacro{\crd@qual}
|
|
% Now the syntax table \verb|\crd@qual| has to be defined which fills
|
|
% the lists appropriatly.
|
|
% \begin{macrocode}
|
|
\def\crd@qual{crd@qual}%
|
|
\def\crd@qualdepth{2}
|
|
\def\crd@qualm{\crd@append{\crd@smalltype m}\to\crd@lo}% minor
|
|
\def\crd@qualM{\crd@append{\crd@capitaltype M}\to\crd@up}% major7
|
|
\expandafter\def\csname\crd@qual4\endcsname% 4
|
|
{\crd@append{\crd@numbertype4}\to\crd@lo}
|
|
\expandafter\def\csname\crd@qual5+\endcsname% aug. 5
|
|
{\crd@append{\crd@numbertype\crd@numbersharp5}\to\crd@alt}
|
|
\expandafter\def\csname\crd@qual5-\endcsname% dim. 5
|
|
{\crd@append{\crd@numbertype\crd@numberflat5}\to\crd@alt}
|
|
\expandafter\def\csname\crd@qual6\endcsname% 6
|
|
{\crd@append{\crd@numbertype6}\to\crd@up}
|
|
\expandafter\def\csname\crd@qual7\endcsname% dominant 7
|
|
{\crd@append{\crd@numbertype7}\to\crd@up}
|
|
\def\crd@quald{\crd@append{\crd@dim}\to\crd@up}% diminished
|
|
\def\crd@qualh{\crd@append{\crd@hdim}\to\crd@up}% half diminished
|
|
\expandafter\def\csname\crd@qual9-\endcsname% -9
|
|
{\crd@append{\crd@numbertype\crd@numberflat9}\to\crd@alt}
|
|
\expandafter\def\csname\crd@qual9+\endcsname% +9
|
|
{\crd@append{\crd@numbertype\crd@numbersharp9}\to\crd@alt}
|
|
% \end{macrocode}
|
|
%
|
|
% \begin{demo}[w]{qualparsing}
|
|
% \makeatletter
|
|
% \def\parsequal#1{\def\crd@input{#1}%
|
|
% \crd@qualinit%
|
|
% \loop\crd@parse\crd@input\for\crd@qual%
|
|
% \ifcrd@parsematched\repeat%
|
|
% (\crd@lo,\crd@up,\crd@alt)%
|
|
% }%
|
|
% \makeatother
|
|
%
|
|
% \parsequal{mMdh4+5-567-9+9}
|
|
% \end{demo}
|
|
%
|
|
% \subsubsection{Parsing the whole chord}
|
|
% We are now ready to parse the whole chord, consisting
|
|
% of chordnote, qualifiers and bassnote. However
|
|
% if one likes to set only a bassnote one needs to tell
|
|
% that there is no chord note to set. For this purpose
|
|
% the \DescribeMacro{\crd@skipcrdnote} \verb|\crd@skipcrdnote|
|
|
% syntax table defines the `/' item which does this skip.
|
|
% \begin{macrocode}
|
|
\def\crd@skipcrdnote{crd@skipcrdnote}
|
|
\expandafter\def\csname\crd@skipcrdnote/\endcsname{}
|
|
% \end{macrocode}
|
|
% \DescribeMacro{\crd@parsecrd}
|
|
%
|
|
% \begin{macrocode}
|
|
\def\crd@parsecrd{%
|
|
\crd@vshift=0 %
|
|
\let\crd@numberval=\crd@vshift%
|
|
\crd@parse\crd@input\for\crd@number%
|
|
\crd@hshift=0 %
|
|
\let\crd@numberval=\crd@hshift%
|
|
\crd@parse\crd@input\for\crd@number%
|
|
\crd@bracketinit%
|
|
\crd@parse\crd@input\for\crd@bracket%
|
|
\def\crd@crdnote{}% chord note
|
|
\def\crd@crdacc{}% chord note accidental
|
|
\def\crd@bassnote{}% bass note
|
|
\def\crd@bassacc{}% bass note accidental
|
|
\crd@qualinit% initialize qualifiers
|
|
\let\crd@flat=\crd@noteflat%
|
|
\let\crd@doubleflat=\crd@notedoubleflat%
|
|
\let\crd@sharp=\crd@notesharp%
|
|
\let\crd@doublesharp=\crd@notedoublesharp%
|
|
\crd@parsenote\crd@crdnote\crd@crdacc% read chord note
|
|
\loop\crd@parse\crd@input\for\crd@qual% read qualifiers
|
|
\ifcrd@parsematched\repeat%
|
|
\crd@parse\crd@input\for\crd@skipcrdnote% skip eventually
|
|
\let\crd@flat=\crd@bassflat%
|
|
\let\crd@doubleflat=\crd@bassdoubleflat%
|
|
\let\crd@sharp=\crd@basssharp%
|
|
\let\crd@doublesharp=\crd@bassdoublesharp%
|
|
\crd@parsenote\crd@bassnote\crd@bassacc% read bass note
|
|
\crd@parse\crd@input\for\crd@bracket%
|
|
\crd@formatcrd\hfil% call rendering
|
|
}
|
|
% \end{macrocode}
|
|
% \subsubsection{ Multiple chords}
|
|
% \DescribeMacro{\crd@parsecrds}
|
|
% The \verb|\crd@parsecrds| macro is used to read more then one
|
|
% chord. This can be usefull if no corresponding note over which
|
|
% one can put the note exist.
|
|
% \DescribeMacro{\crd@crddelim}
|
|
% The syntax table \verb|\crd@crddelim| is used.
|
|
% \begin{macrocode}
|
|
\def\crd@crddelim{crd@crddelim}%
|
|
\expandafter\def\csname\crd@crddelim,\endcsname{}%
|
|
\def\crd@parsecrds{%
|
|
\crd@parsecrd%
|
|
\crd@parse\crd@input\for\crd@crddelim%
|
|
\ifcrd@parsematched\crd@parsecrds\fi%
|
|
}
|
|
% \end{macrocode}
|
|
% \begin{demo}[w]{multiple chords}
|
|
% \c (Cm),2CM,Cm7
|
|
% \end{demo}
|
|
% \DescribeMacro{\c}
|
|
% The main entry point for the user is the
|
|
% \verb*|\c |\synt{chord-list}\verb*| | macro which calls the
|
|
% \verb|\crd@output| routine with the formatted chords.
|
|
% \begin{macrocode}
|
|
\def\crd#1 {\def\crd@input{#1}\crd@output\crd@parsecrds}
|
|
\let\cedilla=\c
|
|
\let\c=\crd
|
|
% \end{macrocode}
|
|
%
|
|
% \subsection{Formatting}
|
|
% To allow the use of different fonts the
|
|
% notion of fontstyles is introduced.
|
|
% The initialisation of fontstyles is done in different macros.
|
|
% \DescribeMacro{\crd@fontstylea}
|
|
% \begin{macrocode}
|
|
\def\crd@fontstylea{%
|
|
\font\crd@eightrm=cmr8
|
|
\font\crd@eightit=cmmi8
|
|
\font\crd@seventeenrm=cmr17
|
|
\font\crd@fourteenrm=cmr14
|
|
\font\crd@twelverm=cmr12
|
|
\font\crd@ninerm=cmr9
|
|
\font\crd@smallninerm=cmr9 scaled 900
|
|
\font\crd@bigninerm=cmr9 scaled 1100
|
|
\let\crd@notetype=\crd@seventeenrm
|
|
\def\crd@noteflat{\raise0.6ex\hbox{\kern-0.085em\musictwenty2}}
|
|
\def\crd@notedoubleflat{\raise0.6ex\hbox{\kern-0.085em\musictwenty3}}
|
|
\def\crd@notesharp{\raise0.8ex\hbox{\musictwenty4}}
|
|
\def\crd@notedoublesharp{\raise0.8ex\hbox{\musictwenty5}}
|
|
\let\crd@basstype=\crd@fourteenrm
|
|
\def\crd@bassflat{\raise.5ex\hbox{\musicsixteen2}}
|
|
\def\crd@bassdoubleflat{\raise0.6ex\hbox{\kern-0.085em\musicsixteen3}}
|
|
\def\crd@basssharp{\raise1ex\hbox{\musicsixteen4}}
|
|
\def\crd@bassdoublesharp{\raise0.8ex\hbox{\musicsixteen5}}
|
|
\let\crd@numbertype=\crd@ninerm
|
|
\def\crd@numberflat{\raise.5ex\hbox{\musiceleven2}}
|
|
\def\crd@numbersharp{\raise1ex\hbox{\musiceleven4}}
|
|
\def\crd@numberminus{\crd@ninerm-}
|
|
\def\crd@numberplus{\crd@ninerm+}
|
|
\let\crd@capitaltype=\crd@smallninerm % capitals
|
|
\let\crd@smalltype=\crd@bigninerm % small
|
|
\def\crd@hdim{\crd@eightit$\circ$\kern-4.4pt\raise.9pt\hbox{\crd@eightrm/}}
|
|
\def\crd@dim{\crd@eightit$\circ$}
|
|
}
|
|
% \end{macrocode}
|
|
% The formating of the chords is done in the
|
|
% \DescribeMacro{\crd@formatcrd}
|
|
% \verb|\crd@formatcrd| macro. The parse results are
|
|
% stored in the following macros:
|
|
% \verb|\crd@crdnote| -- chord note,
|
|
% \verb|\crd@crdacc| -- chord note accidental,
|
|
% \verb|\crd@bassnote| -- bass note and
|
|
% \verb|\crd@bassacc| -- bass note accidental.
|
|
%
|
|
%
|
|
%\iffalse % dont include this, just experimental code
|
|
%<*gobble>
|
|
\def\mymatrix#1{\null\,\vcenter{\normalbaselines\m@th
|
|
\ialign{\hfil$##$\hfil&&\quad\hfil$##$\hfil\crcr
|
|
\mathstrut\crcr\noalign{\kern-\baselineskip}
|
|
#1\crcr\mathstrut\crcr\noalign{\kern-\baselineskip}}}\,}
|
|
\def\crd@formatcrdb{%
|
|
${\rm \crd@crdnote}\crd@crdacc%
|
|
^{\crd@up}_{\raise0pt\hbox{{\rm \crd@lo}}}
|
|
\ifx\crd@alt\empty\else\left(\mymatrix\crd@alt\right)\fi%
|
|
\ifx\crd@bassnote\empty\else% do we have an bass note set ?
|
|
/{\rm \crd@bassnote}\crd@bassacc%
|
|
\fi$%
|
|
}
|
|
%</gobble>
|
|
%\fi
|
|
% \begin{macrocode}
|
|
\def\crd@formatcrda{%
|
|
\hbox{\kern\crd@hshift\elemskip\raise\crd@vshift\internote\hbox{%
|
|
{\crd@notetype\crd@bracketopen}%
|
|
{\crd@notetype\crd@crdnote\crd@crdacc}%
|
|
\vbox{%
|
|
\hbox{%
|
|
\crd@up%
|
|
\ifx\crd@alt\empty\else\crd@numbertype(\crd@alt\crd@numbertype)\fi%
|
|
}%
|
|
\nointerlineskip\vskip1pt%
|
|
\hbox{\vphantom{\crd@capitaltype M}\crd@lo}}%
|
|
\ifx\crd@bassnote\empty\else%
|
|
{\crd@basstype/%
|
|
\lower0.5ex\hbox{\kern-0.17em \crd@bassnote\crd@bassacc}}%
|
|
\fi%\
|
|
{\crd@notetype\crd@bracketclose}%
|
|
}}
|
|
}
|
|
% \end{macrocode}
|
|
% \begin{macrocode}
|
|
\let\crd@formatcrd=\crd@formatcrda
|
|
\crd@fontstylea
|
|
% \end{macrocode}
|
|
%
|
|
% \begin{demo}[w]{formatting}
|
|
% \generalsignature{0}\generalmeter{\meterfrac44}
|
|
% \nobarnumbers
|
|
% \startextract
|
|
% \NOtes\c Cm,CM,Dm7 \hu f\en\bar
|
|
% \endextract
|
|
% \end{demo}
|
|
%
|
|
%
|
|
% \DescribeMacro{\crd@output}
|
|
% The output function puts the formatted chords on their place.
|
|
%
|
|
% \begin{macrocode}
|
|
\def\crd@musixOutput#1{\hbox{\zchar{\crddefaultheight}{\hbox to\elemskip{#1\hss}}}}
|
|
\let\crd@output=\crd@musixOutput
|
|
% \end{macrocode}
|
|
%
|
|
%
|
|
\makeatother
|
|
%
|
|
% \section{Customization}
|
|
% If the default implementation does not suite the needs
|
|
% some tips of how to change the default behaviour will be
|
|
% given.
|
|
% \subsection{Changing the extensions}
|
|
% \begin{description}
|
|
% \item[Q:] How do I get the symbol $Dm^{M7}$ ?
|
|
% \item[A:] The M has to be put to the upper extensions list, so we
|
|
% have to change the definition in the \verb|\crd@qual| table:
|
|
% \def\crddefaultheight{0}
|
|
% \begin{demo}[w]{$Dm^{M7}$}
|
|
% \makeatletter%
|
|
% \def\crd@qualM{\crd@append{\crd@capitaltype M}\to\crd@up}% major7
|
|
% \makeatother%
|
|
% \c DmM7 %
|
|
% \end{demo}
|
|
% \item[Q:] How do I get the symbol $Dm^{7-5}$ ?
|
|
% \item[A:]
|
|
% \begin{itemize}
|
|
% \renewcommand{\labelitemi}{-}
|
|
% \item
|
|
% The predefined symbol can be found by using `h' -- for
|
|
% half dimineshed.
|
|
% \begin{demo}[w]{h}
|
|
% \c Dh %
|
|
% \end{demo}
|
|
% \item
|
|
% to ge the diminished fifth explicit to the upper extensions one could
|
|
% either change the definition of the `h' to:
|
|
% \begin{demo}[w]{Dmh : $Dm^{7-5}$}
|
|
% \makeatletter%
|
|
% \def\crd@qualh%
|
|
% {\crd@append{\crd@numbertype 7-5}\to\crd@up}% half diminished
|
|
% \makeatother%
|
|
% \c Dmh %
|
|
% \end{demo}
|
|
% \item
|
|
% or may introduce an mapping for the -5 and has to write: D7-5
|
|
% \begin{demo}[w]{Dm7-5 : $Dm^{7-5}$}
|
|
% \makeatletter%
|
|
% \expandafter\def\csname\crd@qual5-\endcsname% dimin. 5
|
|
% {\crd@append{\crd@numberminus\crd@numbertype5}\to\crd@up}%
|
|
% \makeatother%
|
|
% \c Dm7-5 %
|
|
% \end{demo}
|
|
% \end{itemize}
|
|
% \end{description}
|
|
%
|
|
% \subsection{change fonts}
|
|
% \begin{description}
|
|
% \item[Q:] How do I change the font?
|
|
% \item[A:] One has to create his own fontstyle definition
|
|
% with a suitable formatting like for example:
|
|
% \begin{demo}[w]{change fonts}
|
|
% \makeatletter%
|
|
% \def\crd@fontstyleb{%
|
|
% \font\crd@newfont=cmssbx10%
|
|
% \let\crd@notetype=\crd@newfont%
|
|
% \def\crd@noteflat{\raise2pt\hbox{\musixchar90}}%
|
|
% \def\crd@notedoubleflat{\crd@noteflat\crd@noteflat}%
|
|
% \def\crd@notesharp{\raise3.5pt\hbox{\musixchar92}}%
|
|
% \def\crd@notedoublesharp{\crd@notesharp\crd@notesharp}%
|
|
% \let\crd@basstype=\crd@newfont%
|
|
% \def\crd@bassflat{\crd@noteflat}%
|
|
% \def\crd@bassdoubleflat{\crd@notedoubleflat}%
|
|
% \def\crd@basssharp{\crd@notesharp}%
|
|
% \def\crd@bassdoublesharp{\crd@notedoublesharp}%
|
|
% \let\crd@numbertype=\crd@newfont%
|
|
% \def\crd@numberflat{\crd@noteflat}%
|
|
% \def\crd@numbersharp{\crd@notesharp}%
|
|
% \def\crd@numberminus{\crd@newfont-}%
|
|
% \def\crd@numberplus{\crd@newfont+}%
|
|
% \let\crd@capitaltype=\crd@newfont % capitals in extension
|
|
% \let\crd@smalltype=\crd@newfont % small letters in extension
|
|
% \def\crd@hdim%
|
|
% {\crd@newfont$\circ$\kern-4.4pt\raise.9pt\hbox{\crd@newfont/}}%
|
|
% \def\crd@dim{\crd@newfont$\circ$}%
|
|
% }%
|
|
% \def\crd@formatcrdb{%
|
|
% \hbox{\kern\crd@hshift\elemskip\raise\crd@vshift\internote\hbox{%
|
|
% {\crd@notetype\crd@crdnote\crd@crdacc}%
|
|
% \crd@lo%
|
|
% \raise4pt%
|
|
% \hbox{%
|
|
% \crd@up%
|
|
% \ifx\crd@alt\empty\else\crd@numbertype(\crd@alt\crd@numbertype)\fi%
|
|
% }%
|
|
% \ifx\crd@bassnote\empty\else%
|
|
% {\crd@basstype/\crd@bassnote\crd@bassacc}%
|
|
% \fi%\
|
|
% }}
|
|
% }
|
|
% \crd@fontstyleb%
|
|
% \let\crd@formatcrd=\crd@formatcrdb
|
|
% \makeatother%
|
|
% \nobarnumbers%
|
|
% \startextract\NOtes\c D7,AfM7 \hu f\en\bar\endextract%
|
|
% \end{demo}
|
|
% \end{description}
|
|
% Contributions for improving either the current fontstyle
|
|
% or the definition of new ones are welcome.
|
|
%
|
|
% \section{Todo}
|
|
%
|
|
% The actual implementation is not really open for changing
|
|
% the input format and the way the chords are displayed.
|
|
% One should implement an middle layer which is fixed and
|
|
% offer various implementations either for the input format
|
|
% and the output format which are written using this layer.
|
|
%
|
|
% \section{Change Log}
|
|
%
|
|
% \begin{description}
|
|
% \item[Version 1.0] (2.11.2004) \par Initial version.
|
|
% \item[Version 1.1] (1.7.2005) \par
|
|
% Added input guard and resetting of parameters
|
|
% if file is included more than once.
|
|
% \end{description}
|
|
%
|
|
% \Finale \PrintIndex
|
|
%
|
|
%\iffalse
|
|
%<*gobble>
|
|
%%% Local Variables:
|
|
%%% mode: plain-tex
|
|
%%% TeX-master: t
|
|
%%% End:
|
|
%</gobble>
|
|
%\fi |