1 \input texinfo @c -*-texinfo-*- vim:tw=72
2 @setfilename regression-test.info
3 @settitle LilyPond Regression test
7 @author Han-Wen Nienhuys and Jan Nieuwenhuizen
8 @title LilyPond Regression test
15 This document tries give an brief overview of LilyPond features. When
16 the text correspond with the shown notation, we consider LilyPond
17 Officially BugFree (tm). This document is intended for finding bugs,
18 and documenting bugfixes.
20 @section Notes and rests
22 Rests. Note that the dot of 8th, 16th and 32nd rests rest should be
23 next to the top of the rest. All rests except the whole rest are
24 centered on the middle staff line.
28 Note head shapes are settable. The stem endings should be adjusted
29 per note head. If you want different note head styles on one stem,
30 you must create a special context called Thread.
32 Harmonic notes have a different shape and different
33 dimensions. Nevertheless, noteheads in both styles can be combined, on
34 either up or down stems.
36 @mudelafile{noteheadstyle.ly}
38 Noteheads can have dots, and rests can too. Augmentation dots should
39 never be printed on a staff line, but rather be shifted vertically. They
40 should go up, but in case of multiple parts, the down stems have down
41 shifted dots. (Wanske p. 186) In case of chords, all dots should be in
42 a column. The dots go along as rests are shifted to avoid collisions.
46 Multiple measure rests do not collide with barlines and clefs. They
47 are not expanded when you set @code{Score.skipBars}. Although the
48 multi-measure-rest is a Spanner, minimum distances are set to keep it
49 colliding from barlines.
51 @mudelafile{multi-measure-rest.ly}
53 If @code{Score.skipBars} is set,
54 the signs for four, two, and one measure rest are combined to
55 produce the graphical representation of rests for up to 10 bars.
56 The number of bars will be written above the sign.
58 @mudelafile{mm-rests2.ly}
60 A sharp sign after a double sharp sign, as well as a flat sign
61 after a double flat sign is automatically prepended with a
64 @mudelafile{double-single-acc.ly}
68 Stem tremolos or rolls are tremolo signs that look like beam segments
69 crossing stems. If the stem is in a beam, the tremolo must be parallel
70 to the beam. If the stem is invisible (eg. on a whole note), the
71 tremolo must be centered on the note.
73 @mudelafile{stem-tremolo.ly}
75 Chord tremolos look like beams, but are a kind of repeat symbol.
76 To avoid confusion, chord tremolo beams do not reach the stems, but
77 leave a gap. Chord tremolo beams on half notes are not ambiguous,
78 as half notes cannot appear in a regular beam, and should reach the
81 @mudelafile{chord-tremolo.sly}
83 Beams, stems and noteheads often have communication troubles, since
84 the two systems for y dimensions (1 unit = staffspace, 1 unit = 1
87 Stems, beams, ties and slurs should behave similarly, when placed
88 on the middle staff line. Of course stem-direction is down for high
89 notes, and up for low notes.
91 @mudelafile{stem-direction.sly}
93 Similarly, if @code{stem_default_neutral_direction} is set to @code{-1}.
95 @mudelafile{stem-direction-down.ly}
99 The staccato dot (and all scripts with follow-into-staff set), must
100 not be on staff lines.
102 @mudelafile{staccato-pos.sly}
106 Grace notes are typeset as an encapsulated piece of music. You can
107 have beams, notes, chords, stems etc. within a @code{\grace} section.
108 Slurs that start within a grace section, but aren't ended are attached
109 to the next normal note. Grace notes have zero duration. If there
110 are tuplets, the grace notes won't be under the brace. Grace notes
111 can have accidentals, but they are (currently) spaced at a fixed
112 distance. Grace notes (of course) come before the accidentals of the
113 main note. Grace notes can also be positioned after the main note.
115 Grace notes without beams should have a slash, if @code{flagStyle} is
116 not set. Main note scripts don't end up on the grace note.
118 @mudelafile{grace.ly}
121 @section Beams, slurs and other spanners
123 Beaming is generated automatically. Beams may cross bar lines. In that
124 case, line breaks are forbidden. Yet clef and key signatures are
125 hidden just as with breakable bar lines.
127 @mudelafile{beaming.ly}
129 Beams should behave reasonably well, even under extreme circumstances.
130 Stems may be short, but noteheads should never touch the beam.
132 @mudelafile{beam-extreme.ly}
134 Beams should always reach the middle staff line. The second beam
135 counting from the note head side, should never be lower than the
136 second staff line. This does not hold for grace note beams.
137 Override with @code{noStemExtend}.
139 @mudelafile{beam-position.sly}
141 Slurs should look nice and symmetric. The curvature may increase
142 only to avoid noteheads, and as little as possible.
144 @mudelafile{slur-symmetry.ly}
145 @mudelafile{slur-symmetry-1.ly}
147 Ties are strictly horizontal. They are placed in between note heads.
148 The horizontal middle should not overlap with a staffline.
152 When tieing chords, the outer slurs point outwards, the inner slurs
153 point away from the center of the staff. Override with
154 @code{tieVerticalDirection}.
156 @mudelafile{tie-chord.ly}
158 When tieing notes with accidentals across a bar boundary, the accidental
159 must not be drawn on the note in the new bar. Instead, the next note of
160 the same pitch in this bar should always show the accidental (even if
161 it's natural). Slurring a accidentaled note to a natural one across bar
162 boundaries should be explicit.
164 Pitches can be verified by printing them with the @code{NoteNames} context.
166 @mudelafile{tie-accidental.ly}
168 Beams can be typeset over fixed distance aligned staffs, beam
169 beautification doesn't really work, but knees do. Beams should be
170 behave well, wherever the switching point is.
172 @mudelafile{beam-cross-staff.ly}
174 The same goes for slurs. They behave decently when broken across
177 @mudelafile{slur-cross-staff.ly}
179 Tuplets are indicated by a bracket with a number. There should be no
180 bracket if there is one beam that matches the length of the tuplet.
181 The bracket does not interfere with the stafflines, and the number is
182 centered in the gap in the bracket.
186 @section Property details
188 More specific settings take precendence over less specific settings. The
189 second slur has slurDirection set to down, overriding the stemup setting.
191 @mudelafile{generic-property-override.ly}
195 LilyPond has three modes for repeats: folded, unfolded and
196 semi-unfolded. Unfolded repeats are fully written out. Semi unfolded
197 repeats have the body written and all alternatives sequentially.
198 Folded repeats have the body written and all alternatives
199 simultaneously. If the number of alternatives is larger than the
200 repeat count, the excess alternatives are ignored. If the number of
201 alternatives is smaller, the first alternative is multiplied to get to
202 the number of repeats.
206 @mudelafile{repeat-unfold.ly}
208 Volta (Semi folded) behavior. Voltas can start on non-barline moments.
209 If they don't barlines should still be shown.
211 @mudelafile{repeat-volta.ly}
213 Folded. This doesn't make sense without alternatives, but it works.
215 @mudelafile{repeat-fold.ly}
219 Lyrics can be set to a melody automatically. Excess lyrics will be
220 dumped. Lyrics will not be set over rests. You can have melismata
221 either by setting a property melismaBusy, or by setting
222 automaticMelismas (which will set melismas during slurs and ties). If
223 you want a different order than first Music, then Lyrics, you must
224 precook a chord of staffs/lyrics and label those. Of course
225 @code{\rhythm} ignores any other rhythms in the piece. Hyphens and
226 extenders do not assume anything about lyric lengths, so they continue
229 @mudelafile{lyric-combine.ly}
231 @section Multiple notes
233 Rests should not collide with beams, stems and noteheads. Rests may
234 be under beams. Rests should be move by integral number of spaces
235 inside the staff, and by half spaces outside. Notice that the half
236 and whole rests just outside the staff get ledger lines in different
239 @mudelafile{rest-collision.ly}
241 Normal collisions. We have support for polyphony, where the
242 middle voices are horizontally shifted.
244 @mudelafile{collisions.ly}
246 The number of stafflines of a staff can be set with the property
247 numberOfStaffLines. Ledger lines both on note heads and rests are
248 adjusted. Barlines also are adjusted.
251 @mudelafile{number-staff-lines.fly}
255 In a limited number of cases, LilyPond corrects for optical spacing
256 effects. In this example, space for opposite pointed stems is adjusted
258 @mudelafile{stem-spacing.sly}
260 If there are accidentals in the music, we add space, but the space
261 between note and accidentals is less than between the notes with the
262 same value. Clef changes also get extra space, but not as much as
266 Even if a line is very tightly spaced, there will still be room
267 between prefatory matter and the following notes. The space after the
268 prefatory is very rigid. In contrast, the space before the barline
269 must stretch like the space within the measure.
273 @mudelafile{spacing-tight.ly}
277 @mudelafile{spacing-natural.ly}
281 @mudelafile{spacing-loose.ly}
283 Adding a @code{Bar_engraver} to the LyricsVoice context makes sure that
284 lyrics don't collide with barlines.
286 @mudelafile{lyrics-bar.ly}
288 @section Global stuff
290 Breaks can be encouraged and discouraged using @code{\break} and
291 @code{\nobreak}. They are abbrevs for @code{\penalty} commands.
293 @mudelafile{break.ly}
296 Markings that are attached to (invisible) barlines are
297 delicate: the are attached to the rest of the score without the score
298 knowing it. Consequently, they fall over often.
300 @mudelafile{bar-scripts.ly}
302 Staff margins are also markings attached to barlines. They should be
303 left of the staff, and be centered vertically wrt the staff. They may
304 be on normal staffs, but also on compound staffs, like the PianoStaff
306 @mudelafile{staff-margin.ly}
308 Breathing signs, also used for phrasing, do normally not influence
309 global spacing -- only if space gets tight, notes are shifted to make
310 room for the breathing sign. Breathing signs break beams running
311 through their voice. In the following example, the notes in the first
312 two measures all have the same distance from each other:
314 @mudelafile{breathing-sign.ly}
316 Fonts are available in a default set of sizes: 11, 13, 16, 20, 23 and
317 26pt staffheight. Sizes of the text fonts and symbol fonts are made
318 to match the staff dimensions.
320 @mudelafile[nofly]{size11.ly}
322 @mudelafile[nofly]{size13.ly}
324 @mudelafile[nofly]{size16.ly}
326 @mudelafile[nofly]{size20.ly}
328 @mudelafile[nofly]{size23.ly}
330 @mudelafile[nofly]{size26.ly}
333 @section Clefs and Time Signatures
335 The transparent clef should not occupy any space and with style
336 @code{fullSizeChanges}, the changing clef should be typeset in full
337 size. For octaviated clefs, the ``8'' should appear closely above or
338 below the clef respectively. The ``8'' is processed in a convoluted
339 way, so this is fragile as well.
341 @mudelafile{clefs.ly}
344 @c the input file is too long and does not test for specific bugs
345 By default, time signatures are written with two numbers. With style
346 ``C'', 4/4 and 2/2 are written with their corresponding symbols and
347 with style ``old'', 2/2, 3/2, 2/4, 3/4, 4/4, 6/4, 9/4, 4/8, 6/8 and
348 9/8 are typeset with symbols, all other signatures retain the default
349 layout. The style ``1'', gives single number signatures for all
352 \mu delafile{time.fly}