path: root/Master/texmf-dist/doc/latex/guitar/guitar.txt

%%#
%%# Author:
%%#
%%# M. V\"ath      vaeth@mathematik.uni-wuerzburg.de
%%#
%%# The author thanks
%%#     Donald Arseneau <asnd@triumf.ca>
%%#     Dan Luecking    <luecking@uark.edu>
%%# and a colleague who does not want to be named here.

%%#############################################################################
%%#
%%#  guitar.sty - typesetting guitar chords over song texts.
%%#
%%#############################################################################

%%#
%%# This package should run with plain TeX, LaTeX 2.09, and LaTeX 2e.
%%# Actually, it should actually run with all TeX formats.
%%#

%%# This is not the only package available for typesetting guitar songs.
%%# The following packages are also available (and possibly also others:
%%# I do not claim that this list is complete).
%%#
%%# 1. gchords.sty   http://www.damtp.cam.ac.uk/user/kp229/gchords/
%%# 2. songbook.sty  http://www.rath.ca/Misc/Songbook/
%%#    or on CTAN:   macros/latex/contrib/supported/songbook/
%%# 3. guitarTeX (which is not a `pure' (La)TeX solution):
%%#                  http://rz-home.de/~jmiltz/guitartex/
%%#
%%# The packages 1. and 2. have somewhat different intentions.
%%# It should be possible to combine them with the current package
%%# without any severe problems.


%%# To use guitar, you have to put `guitar.sty' in a path where TeX looks
%%# for its input files. The TeX documents using guitar need the
%%# following modifications in their header:
%%#
%%# a) If you use LaTeX2.09, use guitar as a style option, e.g.
%%#      \documentstyle[guitar]{article}
%%#    or
%%#      \documentstyle[guitar,12pt]{article}
%%# b) If you use LaTeX2e, put in the preamble the command
%%#      \usepackage{guitar}
%%# c) If you use some other (non-LaTeX) format, you will probably have to
%%#    insert a line like
%%#          \catcode`\@=11\input guitar.sty\catcode`\@=12\relax
%%#
%%# For TeX-insiders:
%%# The only LaTeX-specific commands used in `guitar.sty' are:
%%#
%%#   \newenvironment
%%#   \newcommand (only in the form \newcommand{\command}{} to ensure that
%%#                 \command was not defined before)
%%#   \newsavebox
%%#   \newlength
%%#   \RequirePackage
%%#   \ProvidesPackage
%%#   \typeout
%%#
%%#   The above commands are used only if they are defined
%%#   (otherwise, the plainTeX are used).
%%#

%%#
%%# Usage:
%%#

%%# The general usage is very simple:
%%#
%%# \guitarChord{Bb}Really. \guitarChord{G#}Oh yes.
%%#
%%# This puts the chord "B flat" and "G sharp" over the "R" resp. "O".
%%# (in the chord, "b" and "#" always translate into "flat" resp. "sharp").
%%# When you switch into "magic" mode, you can even use [...] instead of
%%# \guitarChord{...}.
%%# E.g., in LaTeX, you can just write
%%#
%%# \begin{guitar}
%%# [Cm]This [Bb]is a [G#]very [Gm]simple song.
%%# You can still use any [\TeX]macros in the chord text.
%%# Actually, each accord reads a second argument over
%%# which it is [A]{centered}.
%%# By default, the linefeeds in the source lead to linebreaks %
%%# in the output, unless you put a percentage sign at the end of the line. %
%%# If a single line gets too long, the wrapped lines are right-aligned.
%%# To force the wrapping use \verb|\newline|\newline like here.
%%# To stretch the first line, use \verb|\linebreak|\linebreak like here.
%%#
%%# Two subsequent linefeeds in the source start a new verse.
%%#
%%#
%%# Three or more subsequent linefeeds in the source start a new verse with a %
%%# slightly larger space.
%%#
%%# Unfortunately, if the chords get too long, they may [Ebm+7]o[G#]verlap.
%%# To avoid this, the following solutions are supported:
%%#
%%# 1. If the token after your chord is a space, like in "[Ebm+7] space",
%%#    this space is stretched.
%%#    Note that this is different from the notation "[Ebm+7]{ }space".
%%# 2. Inside words, put a _ at the end like for [Ebm+7_]O[G#]K.
%%# 3. Outside words, put a | at the end like for [Ebm+7|]{OK}[G#|].
%%# If the chord is short enough (compared to its argument) then the symbols
%%# | and _ do not harm like in [E|]{long} or [E_]{long}er.
%%#
%%# You may (and in plainTeX you must) replace "\begin{guitar}" and
%%# "\end{guitar}" by "\guitarOn" and "\guitarOff", respectively.
%%#
%%# If you only want to put the guitar chords as above but do not like the
%%# feature concerning the linefeeds, you can use the environment
%%# \begin{guitarMagic}
%%# \end{guitarMagic}
%%# or the respective commands \guitarMagicOn and \guitarMagicOff.
%%# Similarly, you can also use only the linefeed feature by the environment
%%# \begin{guitarCr}
%%# \end{guitarCr}
%%# or the respective commands \guitarCrOn and \guitarCrOff.
%%#
%%# As a matter of fact, you can also e.g. use \guitarCrOff *within* a
%%# {guitar} environment, but then you have to use \guitarCrOn before you
%%# end the environment to have a proper nesting of modes.
%%#

%%#
%%# Customization
%%#

%%# The output of the "#" and "b" tokens in the chords is generated by the two
%%# commands
%%#
%%#       \guitarSharp
%%#       \guitarFlat
%%#
%%# Thus, for, example the customization
%%#
%%#       \def\guitarSharp{$^{\sharp}$}
%%#
%%# will make the sharp symbol be written as an upper index.

%%# In a similar way, the macros
%%#
%%#       \guitarEndLine
%%#       \guitarEndPar
%%#       \guitarEndDoublePar
%%#
%%# are expanded when the song text contains one, two, or three (or more)
%%# linefeeds.\par

%%# After the macro
%%#
%%#       \guitarNoChord
%%#
%%# has been used, no chords are output anymore. You can make the effect
%%# local by putting this command in a group. (\guitarNoChord redefines the
%%# macros which are responsible for the actual output of the chords - see the
%%# description at the end).
%%#
%%# The command
%%#
%%#       \guitarPreAccord
%%#
%%# is expanded before the actual chord is typeset: You can change this
%%# definition to e.g. modify the font used for the chord. By default, this
%%# command contains a \strut which ensures that the lines with chords
%%# usually all have the same height.
%%# The macro \guitarPreAccord may also use and modify the macro
%%#
%%#       \guitarAccord
%%#
%%# which contains the actual chord which is then output (you may use this
%%# feature to e.g. calculate a modulation in \guitarPreAccord or to
%%# replace the text of \guitarAccord by some graphic equivalent).
%%#
%%# It is guaranteed that the macros \guitarPreAccord and \guitarAccord
%%# are expanded precisely once.
%%# In contrast, it might happen that the argument of the chord (i.e. the
%%# text over which the chord is put) is expanded twice.
%%# (The doubled expansion could have been avoided, but the price were that
%%# in some cases the TeX kerning mechanism would then fail if the argument
%%# is a syllable of some word which is continued afterwards).
%%#
%%# Whenever the "guitar" mode or the "linefeed" mode is turned
%%# on or off, the corresponding macro
%%#
%%#       \guitarMagicOnHook
%%#       \guitarMagicOffHook
%%#       \guitarCrOnHook
%%#       \guitarCrOffHook
%%#
%%# is expanded (for switching on, the macro is expanded even before the
%%# necessary catcode changes are done, and for switching off, the macro
%%# is expanded after the catcodes have been restored).
%%# In the current defaults, a group is opened and closed in
%%# \guitarCrOnHook and \guitarCrOffHook: This is the reason why these
%%# commands must be properly nested.
%%# (The reason for this group is that"\parindent should be changed locally).
%%#
%%# In the current implementation, TeX forgets everything following the magic
%%# tokens "|" and "_" in the chord (because these symbols are intended to be
%%# the last one in the chord). If you want to use these tokens within a chord:
%%# They loose their magic meaning if they occur in a braced context
%%# (i.e. between { and }). If you regularly have to use these tokens within
%%# chords, you can change the default choice of this tokens by the respective
%%# commands
%%#
%%#       \toolboxMakeSplit{token}{guitarSplitDist}
%%#       \toolboxMakeSplit{token}{guitarSplitMerge}
%%#
%%# (See the "toolbox" package for details of the command \toolboxMakeSplit
%%# used here).
%%# It should be pointed out that {token} may actually be a *sequence*
%%# of tokens, so that for the `magic tokens' "|" and "_" you may instead use
%%# whole phrases if you prefer.
%%#
%%# Some fine tuning of the spacing can be done by redefining
%%#
%%#       \guitarCalcDim
%%#
%%# When this macro is called, the skip register
%%#
%%#       \guitarDim
%%#
%%# contains the width of the chord which should be put over the text.
%%# After \guitarCalcDim has been expanded, it is ensured that at least
%%# \guitarDim (horizontal) space is reserved for the chord. Thus, if
%%# \guitarCalcDim increases e.g. \guitarDim by 2pt (which is the
%%# default behavior of \guitarCalcDim), then 2pt more space is reserved
%%# for the chord than its actual size: This ensures that two subsequent
%%# chords are always separated by some space.
%%#
%%# Finally, you can modify the macros which do the actual setting of the
%%# chords: This setting is done by the commands
%%#
%%#       \guitarPut
%%#       \guitarPutOnSpace
%%#       \guitarPutDist
%%#       \guitarPutMerge
%%#
%%# which with the exception of \guitarPutOnSpace all expect one argument
%%# (namely the text on which they should be put). The command
%%# \guitarPutOnSpace is called, if a space followed the chord argument.
%%# Similarly, \guitarPutDist and \guitarPutMerge are called if the chord
%%# argument ended with the magic symbol "|" respectively "_".
%%# Before one of the above four macros is called, the chord text is stored in
%%# the macro \guitarAccord (and has not been expanded to this time); also the
%%# argument has not been expanded to this time. The above four macros are also
%%# responsible for the appropriate expansion (also of the expansion of the
%%# macros \guitarCalcDim and \guitarPreAccord, if
%%# the latter should still keep their meaning).
%%# The above four macros may freely use the skip register \guitarDim and the
%%# box register \guitarBox (which are both not used or
%%# modified by the other macros of this package).
%%#

%%#
%%# Possible Problems:
%%#

%%# The special treatment of [ # b and linefeed is realized by a changing of
%%# catcodes. This may cause essentially two sorts of problems:
%%#
%%# 1. In some cases, you will want to avoid the automatic replacement of '#'
%%#    and 'b'. For example, in [\textbf{F#}] or in \guitarChord{\textbf{F#}}
%%#    the "b" of "\textbf" gets replaced which is of course not what you want.
%%#    To avoid this replacement, there is a  * version of the respective
%%#    commands, i.e. the above example works in the intended way if you write
%%#    instead [*\textbf{F\guitarSharp}] or
%%#    \guitarChord*{\textbf{F\guitarSharp}}
%%#    (you have to use the command "\guitarSharp", because due to the * also
%%#    the # would not be replaced).
%%#
%%# 2. There are some situations in which catcodes are set too early,
%%#    e.g. if you use the macros within the argument of certain macros.
%%#    In this case, these symbols keep their usual \TeX\ meaning
%%#    (which may either lead to an error in case of "#" (and sometimes "[") or
%%#    just to a false output). If this happens to you, you have to replace at
%%#    the corresponding place the above one-symbol shortcuts by their longer
%%#    macro equivalents. In other words: You might have to replace in
%%#    certain special situations some occurrences of the symbols according to
%%#    the following table:
%%#
%%#    [...]        ->   \guitarChord{...}
%%#    #            ->   \guitarSharp
%%#    b            ->   \guitarFlat
%%#    linefeed     ->   \guitarEndLine
%%#    2 linefeeds  ->   \guitarEndPar
%%#    3+ linefeeds ->   \guitarEndDoublePar
%%#

\endinput
%%
%% End of file `guitar.txt'.