--- /dev/null
+;; Accordion registration is tricky, partly because no two instruments
+;; offer the same registers. In particular bass registers are not
+;; standardized at all and often left unspecified (orchestra scores
+;; don't use bass notes anyway).
+;;
+;; registration is indicated by using a control sequence name
+;; indicating the register set as either a markup function or a music
+;; function, taking a string as argument. The music function is a
+;; standalone music event since register changes usually occur before
+;; note onset. It is currently implemented as a text superscript on
+;; an empty chord but could conceivably become some kind of per-staff
+;; rehearsal mark at one point of time.
+
+(define-module (scm accreg))
+
+(use-modules (lily) (srfi srfi-1) (ice-9 optargs))
+
+(defmacro* define-register-set (set-symbol doc #:optional definition)
+ "Defines markup command named with @var{set-symbol} for creating
+accordion register markups as well as a music function of the same
+name.
+
+@var{doc} is the optional documentation string followed by the actual
+@var{definition}. See existing definitions in @file{scm/accreg.scm}
+for examples."
+ `(begin
+ (define-markup-command (,set-symbol layout props name) (string?)
+ #:properties (translate-scaled-markup)
+ #:category accordion-registers
+ ;; It would be nice to generate the documentation string
+ ;; automatically containing all possible registrations but this
+ ;; is a hen-and-egg problem. When the macro is being executed,
+ ;; the register definition has not yet been evaluated. It
+ ;; would be feasible to not ever evaluate it and consider it
+ ;; final. But that seems like a somewhat unfriendly interface.
+ ,(if definition doc "Undocumented.")
+ (let* ((instrument ,(or definition doc))
+ (register
+ (ly:assoc-get name (ly:assoc-get 'register instrument)))
+ (reedbanks (ly:assoc-get 'reedbank instrument)))
+ (interpret-markup
+ layout props
+ (make-general-align-markup
+ Y DOWN
+ (fold (lambda (d m)
+ (markup #:combine m
+ #:translate-scaled d
+ #:musicglyph "accordion.dot"))
+ (markup #:musicglyph
+ (ly:assoc-get 'glyph instrument))
+ (or (ly:assoc-get 'dots register)
+ (append-map (lambda (x)
+ (ly:assoc-get 'dots
+ (ly:assoc-get x reedbanks)))
+ (ly:assoc-get 'reedbanks register))))))))
+
+ (define-public ,set-symbol
+ (define-music-function (parser position register)
+ (string?)
+ ,(format #f "Equivalent to @code{<>^\\markup \\~a@var{REGISTER}}."
+ set-symbol)
+ (make-event-chord
+ (list
+ (make-music
+ 'TextScriptEvent
+ 'direction
+ 1
+ 'text
+ (markup ,(symbol->keyword set-symbol) register))))))))
+
+
+(define-register-set discant
+ "@code{\\discant @var{name}} generates a discant accordion register
+symbol.
+
+To make it available,
+@example
+#(use-modules (scm accreg))
+@end example
+is required near the top of your input file.
+
+The register names in the default @code{\\discant} register set have
+modeled after numeric Swiss notation like depicted in
+@uref{http://de.wikipedia.org/wiki/Register_%28Akkordeon%29}, omitting
+the slashes and dropping leading zeros.
+
+The string @var{name} is basically a three-digit number with the
+lowest digit specifying the number of 16' reeds, the tens the number
+of 8' reeds, and the hundreds specifying the number of 4' reeds.
+Without modification, the specified number of reeds in 8' is centered
+in the symbol. Newer instruments may have registrations where 8' can
+be used either within or without a tone chamber, @q{cassotto}.
+Notationally, the central dot then indicates use of cassotto. One can
+suffix the tens' digits @samp{1} and @samp{2} with @samp{+} or
+@samp{-} to indicate clustering the dots at the right or left
+respectively rather than centered.
+
+Some examples are
+
+@lilypond[quote]
+#(use-modules (scm accreg))
+\\markup {
+ \\center-column {
+ \\discant #\"1\"
+ \"\\\\discant #\\\"1\\\"\"
+ \\vspace #1
+ \\discant #\"120\"
+ \"\\\\discant #\\\"120\\\"\"
+ } \\hspace #3
+ \\center-column {
+ \\discant #\"1+0\"
+ \"\\\\discant #\\\"1+0\\\"\"
+ \\vspace #1
+ \\discant #\"131\"
+ \"\\\\discant #\\\"131\\\"\"
+ }
+}
+@end lilypond
+"
+ '((glyph . "accordion.discant")
+ (reedbank
+ (L (dots (0 . 0.5)))
+ (M (dots (0 . 1.5)))
+ (MM (dots (1 . 1.5)))
+ (MMM (dots (-1 . 1.5)))
+ (H (dots (0 . 2.5))))
+ (register
+ ("1" (reedbanks L))
+ ("10" (reedbanks M))
+ ("11" (reedbanks L M))
+ ("1+0" (reedbanks MM))
+ ("1+1" (reedbanks MM L))
+ ("1-0" (reedbanks MMM))
+ ("1-1" (reedbanks MMM L))
+ ("20" (reedbanks MMM MM))
+ ("21" (reedbanks MMM MM L))
+ ("2+0" (reedbanks MM M))
+ ("2+1" (reedbanks MM M L))
+ ("2-0" (reedbanks MMM M))
+ ("2-1" (reedbanks MMM M L))
+ ("30" (reedbanks MMM MM M))
+ ("31" (reedbanks MMM MM M L))
+ ("100" (reedbanks H))
+ ("101" (reedbanks H L))
+ ("110" (reedbanks H M))
+ ("111" (reedbanks H L M))
+ ("11+0" (reedbanks H MM))
+ ("11+1" (reedbanks H MM L))
+ ("11-0" (reedbanks H MMM))
+ ("11-1" (reedbanks H MMM L))
+ ("120" (reedbanks H MMM MM))
+ ("121" (reedbanks H MMM MM L))
+ ("12+0" (reedbanks H MM M))
+ ("12+1" (reedbanks H MM M L))
+ ("12-0" (reedbanks H MMM M))
+ ("12-1" (reedbanks H MMM M L))
+ ("130" (reedbanks H MMM MM M))
+ ("131" (reedbanks H MMM MM M L)))))
+
+(define-register-set stdBass
+ "@code{\\stdBass @var{name}} generates a standard bass accordion
+register symbol.
+
+To make it available,
+@example
+#(use-modules (scm accreg))
+@end example
+is required near the top of your input file.
+
+The default bass register definitions have been modeled after the
+article @uref{http://www.accordions.com/index/art/stradella.shtml}
+originally appearing in Accord Magazine.
+
+The underlying register model is
+
+@lilypond[quote]
+\\new PianoStaff
+<<
+ \\new Staff \\with { \\omit TimeSignature }
+ { <c' c' c''>\\glissando <f' f' f''>
+ <fis fis' fis''>\\glissando <b b'b''> }
+ \\new Staff \\with { \\omit TimeSignature }
+ { \\clef bass
+ <c, c>\\glissando <f, f>
+ <fis, fis>\\glissando <b, b>
+ }
+>>
+@end lilypond
+
+This kind of overlapping arrangement is common for Italian instruments
+though the exact location of the octave breaks differ.
+
+When not composing for a particular target instrument, using the five
+reed definitions makes more sense than using a four reed layout: in
+that manner, the @samp{Master} register is unambiguous. This is
+rather the rule in literature bothering about bass registrations at
+all.
+
+Available registrations are
+
+@lilypond[quote]
+#(use-modules (scm accreg))
+\\markup {
+ \\center-column {
+ \\stdBass #\"Soprano\"
+ \"\\\\stdBass #\\\"Soprano\\\"\"
+ \\vspace #1
+ \\stdBass #\"Alto\"
+ \"\\\\stdBass #\\\"Alto\\\"\"
+ \\vspace #1
+ \\stdBass #\"Tenor\"
+ \"\\\\stdBass #\\\"Tenor\\\"\"
+ \\vspace #1
+ \\stdBass #\"Master\"
+ \"\\\\stdBass #\\\"Master\\\"\"
+ } \\hspace #3
+ \\center-column {
+ \\stdBass #\"Soft Bass\"
+ \"\\\\stdBass #\\\"Soft Bass\\\"\"
+ \\vspace #1
+ \\stdBass #\"Soft Tenor\"
+ \"\\\\stdBass #\\\"Soft Tenor\\\"\"
+ \\vspace #1
+ \\stdBass #\"Bass/Alto\"
+ \"\\\\stdBass #\\\"Bass/Alto\\\"\"
+ }
+}
+@end lilypond
+"
+ '((glyph . "accordion.stdbass")
+ (register
+ ("Soprano" (reedbanks Soprano))
+ ("Alto" (reedbanks Alto Soprano))
+ ("Tenor" (reedbanks Tenor Alto Soprano))
+ ("Master" (reedbanks Bass Tenor Contralto Alto Soprano))
+ ("Soft Bass" (reedbanks Bass Tenor Contralto))
+ ("Soft Tenor" (reedbanks Tenor Alto))
+ ("Bass/Alto" (reedbanks Bass Alto Soprano)))
+ (reedbank
+ (Soprano (dots (0 . 3.5)))
+ (Alto (dots (0 . 2.5)))
+ (Contralto (dots (1 . 2)))
+ (Tenor (dots (0 . 1.5)))
+ (Bass (dots (0 . 0.5))))))
+
+
+(define-register-set stdBassIV
+"@code{\\stdBassIV @var{name}} generates a standard bass accordion
+register symbol.
+
+To make it available,
+@example
+#(use-modules (scm accreg))
+@end example
+is required near the top of your input file.
+
+The main use is for four-reed standard bass instruments with reedbank
+layout
+
+@lilypond[quote]
+\\new PianoStaff
+<<
+ \\new Staff \\with { \\omit TimeSignature }
+ { <e e'>2\\glissando <dis' dis''> }
+ \\new Staff \\with { \\omit TimeSignature }
+ { \\clef bass
+ <e,, e,>\\glissando <dis, dis>
+ }
+>>
+@end lilypond
+
+Notable instruments are Morino models with MIII (the others are
+five-reed instead) and the Atlantic@tie{}IV. Most of those models
+have three register switches. Some newer Morinos with MIII might have
+five or even seven.
+
+The prevalent three-register layout uses the middle three switches
+@samp{Tenor}, @samp{Master}, @samp{Soft Bass}. Note that the sound is
+quite darker than the same registrations of @samp{c,}-based
+instruments.
+
+Available registrations are
+
+@lilypond[quote]
+#(use-modules (scm accreg))
+\\markup {
+ \\center-column {
+ \\stdBassIV #\"Soprano\"
+ \"\\\\stdBassIV #\\\"Soprano\\\"\"
+ \\vspace #1
+ \\stdBassIV #\"Alto\"
+ \"\\\\stdBassIV #\\\"Alto\\\"\"
+ \\vspace #1
+ \\stdBassIV #\"Tenor\"
+ \"\\\\stdBassIV #\\\"Tenor\\\"\"
+ \\vspace #1
+ \\stdBassIV #\"Master\"
+ \"\\\\stdBassIV #\\\"Master\\\"\"
+ } \\hspace #3
+ \\center-column {
+ \\stdBassIV #\"Soft Bass\"
+ \"\\\\stdBassIV #\\\"Soft Bass\\\"\"
+ \\vspace #1
+ \\stdBassIV #\"Bass/Alto\"
+ \"\\\\stdBassIV #\\\"Bass/Alto\\\"\"
+ \\vspace #1
+ \\stdBassIV #\"Soft Bass/Alto\"
+ \"\\\\stdBassIV #\\\"Soft Bass/Alto\\\"\"
+ \\vspace #1
+ \\stdBassIV #\"Soft Tenor\"
+ \"\\\\stdBassIV #\\\"Soft Tenor\\\"\"
+ }
+}
+@end lilypond
+"
+ '((glyph . "accordion.stdbass")
+ (reedbank
+ (Soprano (dots (0 . 3.5)))
+ (Alto (dots (0 . 2.5)))
+ (Tenor (dots (0 . 1.5)))
+ (Bass (dots (0 . 0.5))))
+ (register
+ ("Soprano" (reedbanks Soprano))
+ ("Alto" (reedbanks Alto Soprano))
+ ("Tenor" (reedbanks Tenor Soprano))
+ ("Master" (reedbanks Bass Tenor Alto Soprano))
+ ("Soft Bass" (reedbanks Bass Tenor Alto))
+ ("Bass/Alto" (reedbanks Bass Alto Soprano))
+ ("Soft Bass/Alto" (reedbanks Bass Alto))
+ ("Soft Tenor" (reedbanks Tenor Alto)))))
+
+(define-register-set stdBassV
+ "@code{\\stdBassV @var{name}} generates a standard bass accordion
+register symbol.
+
+To make it available,
+@example
+#(use-modules (scm accreg))
+@end example
+is required near the top of your input file.
+
+The main use is for five-reed standard bass instruments with reedbank
+layout
+
+@lilypond[quote]
+\\new PianoStaff
+<<
+ \\new Staff \\with { \\omit TimeSignature }
+ { <e e' e''>2\\glissando <dis' dis'' dis'''> }
+ \\new Staff \\with { \\omit TimeSignature }
+ { \\clef bass
+ <e,, e,>\\glissando <dis, dis>
+ }
+>>
+@end lilypond
+
+This tends to be the bass layout for Hohner's Morino series without
+convertor or MIII manual.
+
+With the exception of the rather new 7-register layout, the highest
+two chord reeds are usually sounded together. The Older instruments offer
+5 or 3 bass registers. The Tango@tie{}VM offers an additional
+@samp{Solo Bass} setting that mutes the chord reeds. The symbol on
+the register buttons of the Tango@tie{}VM would actually match the
+physical five-octave layout reflected here, but it is not used in
+literature.
+
+Composers should likely prefer the five-reed versions of these
+symbols. The mismatch of a four-reed instrument with five-reed
+symbols is easier to resolve for the player than the other way round.
+
+Available registrations are
+
+@lilypond[quote]
+#(use-modules (scm accreg))
+\\markuplist \\justified-lines {
+ \\center-column {
+ \\stdBassV #\"Bass/Alto\"
+ \"\\\\stdBassV #\\\"Bass/Alto\\\"\"
+ \\vspace #1
+ \\stdBassV #\"Soft Bass/Alto\"
+ \"\\\\stdBassV #\\\"Soft Bass/Alto\\\"\"
+ \\vspace #1
+ \\stdBassV #\"Alto\"
+ \"\\\\stdBassV #\\\"Alto\\\"\"
+ \\vspace #1
+ \\stdBassV #\"Tenor\"
+ \"\\\\stdBassV #\\\"Tenor\\\"\"
+ \\vspace #1
+ \\stdBassV #\"Master\"
+ \"\\\\stdBassV #\\\"Master\\\"\"
+ } \\hspace #3
+ \\center-column {
+ \\stdBassV #\"Soft Bass\"
+ \"\\\\stdBassV #\\\"Soft Bass\\\"\"
+ \\vspace #1
+ \\stdBassV #\"Soft Tenor\"
+ \"\\\\stdBassV #\\\"Soft Tenor\\\"\"
+ \\vspace #1
+ \\stdBassV #\"Soprano\"
+ \"\\\\stdBassV #\\\"Soprano\\\"\"
+ \\vspace #1
+ \\stdBassV #\"Sopranos\"
+ \"\\\\stdBassV #\\\"Sopranos\\\"\"
+ \\vspace #1
+ \\stdBassV #\"Solo Bass\"
+ \"\\\\stdBassV #\\\"Solo Bass\\\"\"
+ }
+}
+@end lilypond
+"
+'((glyph . "accordion.stdbass")
+ (reedbank
+ (Sopranos (dots (-0.5 . 3.5) (0.5 . 3.5)))
+ (Soprano (dots (0 . 3.5)))
+ (Alto (dots (0 . 2.5)))
+ (Tenor (dots (0 . 1.5)))
+ (Bass (dots (0 . 0.5))))
+ (register
+ ("Bass/Alto" (reedbanks Bass Alto Soprano))
+ ("Soft Bass/Alto" (reedbanks Bass Alto))
+ ("Alto" (reedbanks Alto Sopranos))
+ ("Tenor" (reedbanks Tenor Sopranos))
+ ("Master" (reedbanks Bass Tenor Alto Sopranos))
+ ("Soft Bass" (reedbanks Bass Tenor Alto))
+ ("Soft Tenor" (reedbanks Tenor Alto))
+ ("Soprano" (reedbanks Soprano))
+ ("Sopranos" (reedbanks Sopranos))
+ ("Solo Bass" (reedbanks Bass)))))
+
+(define-register-set stdBassVI
+ "@code{\\stdBassVI @var{name}} generates a standard bass accordion
+register symbol for six reed basses.
+
+To make it available,
+@example
+#(use-modules (scm accreg))
+@end example
+is required near the top of your input file.
+
+This is primarily the register layout for the Hohner @qq{Gola} model.
+The layout is
+
+@lilypond[quote]
+\\new PianoStaff
+<<
+ \\new Staff \\with { \\omit TimeSignature }
+ { <c' c' c''>\\glissando <f' f' f''>
+ <fis fis' fis''>\\glissando <b b'b''> }
+ \\new Staff \\with { \\omit TimeSignature }
+ { \\clef bass
+ <c, c c'>\\glissando <f, f f'>
+ <fis, fis fis>\\glissando <b, b b>
+ }
+>>
+@end lilypond
+
+The registers are effectively quite similar to that of
+@code{\\stdBass}. An additional bass reed at alto pitch is omitted
+for esthetical reasons from the @samp{Master} setting, so the symbols
+are almost the same except for the @samp{Alto/Soprano} register with
+bass notes at Alto pitch and chords at Soprano pitch.
+
+Available registrations are
+
+@lilypond[quote]
+#(use-modules (scm accreg))
+\\markup {
+ \\center-column {
+ \\stdBassVI #\"Soprano\"
+ \"\\\\stdBassVI #\\\"Soprano\\\"\"
+ \\vspace #1
+ \\stdBassVI #\"Alto\"
+ \"\\\\stdBassVI #\\\"Alto\\\"\"
+ \\vspace #1
+ \\stdBassVI #\"Soft Tenor\"
+ \"\\\\stdBassVI #\\\"Soft Tenor\\\"\"
+ \\vspace #1
+ \\stdBassVI #\"Master\"
+ \"\\\\stdBassVI #\\\"Master\\\"\"
+ } \\hspace #3
+ \\center-column {
+ \\stdBassVI #\"Alto/Soprano\"
+ \"\\\\stdBassVI #\\\"Alto/Soprano\\\"\"
+ \\vspace #1
+ \\stdBassVI #\"Bass/Alto\"
+ \"\\\\stdBassVI #\\\"Bass/Alto\\\"\"
+ \\vspace #1
+ \\stdBassVI #\"Soft Bass\"
+ \"\\\\stdBassVI #\\\"Soft Bass\\\"\"
+ }
+}
+@end lilypond
+"
+ '((glyph . "accordion.stdbass")
+ (register
+ ("Soprano" (reedbanks Soprano))
+ ("Alto" (reedbanks Alto))
+ ("Soft Tenor" (reedbanks Tenor Alto))
+ ("Master" (reedbanks Bass Tenor Contralto Alto Soprano))
+ ("Alto/Soprano" (reedbanks Contratenor Soprano))
+ ("Bass/Alto" (reedbanks Bass Alto Soprano))
+ ("Soft Bass" (reedbanks Bass Tenor Contralto)))
+ (reedbank
+ (Soprano (dots (0 . 3.5)))
+ (Alto (dots (0 . 2.5)))
+ (Contralto (dots (1 . 2)))
+ (Contratenor (dots (-1 . 2.5)))
+ (Tenor (dots (0 . 1.5)))
+ (Bass (dots (0 . 0.5))))))
+
+;; The default FreeBass is modeled after the default Discant register
+;; description. Being a default, we just provide the normal 2 reed
+;; registrations.
+(define-register-set freeBass
+ "@code{\\freeBass @var{name}} generates a free bass/@/converter
+accordion register symbol for the usual two-reed layout.
+
+To make it available,
+@example
+#(use-modules (scm accreg))
+@end example
+is required near the top of your input file.
+
+Available registrations are
+
+@lilypond[quote]
+#(use-modules (scm accreg))
+\\markup {
+ \\center-column {
+ \\freeBass #\"1\"
+ \"\\\\freeBass #\\\"1\\\"\"
+ \\vspace #1
+ \\freeBass #\"10\"
+ \"\\\\freeBass #\\\"10\\\"\"
+ } \\hspace #3
+ \\center-column {
+ \\freeBass #\"11\"
+ \"\\\\freeBass #\\\"11\\\"\"
+ }
+}
+@end lilypond
+"
+ '((glyph . "accordion.freebass")
+ (reedbank
+ (L (dots (0 . 0.5)))
+ (M (dots (0 . 1.5))))
+ (register
+ ("1" (reedbanks L))
+ ("10" (reedbanks M))
+ ("11" (reedbanks L M)))))
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