1 i-*-outline-layout:(2 (-1 -1 0 :) 0);outline-stylish-prefixes:nil -*-
4 Features you cannot find in the documentation as working, should be
5 mentioned here. This is an assorted collection of stuff that will be
6 done, might be done, or is an idea that we want to think about.
8 Most of the items are marked in the code as well
9 Grep -i for TODO, FIXME and ugh/ugr/urg.
12 . * make this file understandable for 3rd parties.
13 . * use Rhythmic_head::position_i () for all Staff_referenced
14 . * note head on stem err msg in dutch.
15 . * why need to run -C mf twice?
16 . * fix interstaff stuff
18 . * setting indent to 0 with \shape fails
19 . * here's no difference at all in output. When either is jacked up to 7.0,
20 everything works and matches up; when either is set just a bit above the
21 default 5.0 (5.4 is what I was hoping to use), stems miss note heads. So
22 it's some sort of a numerical (truncation/roundoff) problem.
25 . * Fixed size staff heights;
26 . * ly2dvi : don't repeat opus if same.
27 . * breaks before mmrests are favored.
28 . * hara kiri _8 clef.
32 . * fix or replace feta-accordion.mf
35 . * Bass/inversion pitch when not part of Chord
36 Sometimes a series of changing chords will be blocked out over a static tone
37 in the bass, usually this was referred to as a pedal tone (and it's been
38 continued to be used, even in contemporary music). Another less frequently
39 used practice is putting a non-chordal tone in the bass (that is not acting
40 as a pedal tone) in order to create tension or make a more colorful sound.
41 There are examples of this in the classsical literature, but its use is much
42 more prevalent today. For example, the chord sequence Dm7 - Dm7/G is such a
43 sequence, and the Dm7/G defies easy classification. Is it a G7(no 3rd)add
44 9/11? Or is it a G7(no 3rd)add2/4? Or perhaps Dm7 add11? It's a heck of a
45 lot easier to read to just leave it as Dm7/G!
46 . * Diminished does not mean 5-
47 When speaking of a chord, dimished can mean one of two things: A diminished
48 triad or a dimished seventh chord (which is distinctly different from what's
49 known as the 'half-diminished' chord). The triad is a root with a flat
50 third and flat fifth, and is notated (at least in America, someone else will
51 have to fill me in on other countries) as (using C as the root) Cdim, or Co.
52 The diminished seventh has a root with a flat third, flat fifth, and a
53 doubly flatted seventh (which is enharmonically equivalent to a sixth, and
54 from which comes tons of confusion). It is usually notated as (again, using
55 C as the root) Cdim7 or Co7.
59 - I would like the possibility of forcing clef- and key- changes to be
60 printed _after_ the new bar line
62 - I would like an option to define the number of systems on which the
63 score must be distributed. As it is now it seems that I may only
64 influence that indirectly through the gourlay_maxmeasures property.
66 - if I change the property minVerticalAlign in a multi staff score with
67 lyrics the change affects the lyrics too. I would like the change to
70 - I would like to be able to influence the sloping of xtuplet brackets
72 - for one of my test scores containing a modern edition of an early
73 17'th century composition I have a leading measure containing the
74 orginal clefs and note values of the original composition. I use the
75 "harmonic" and "diamond" note head styles for that measure and would
76 like to have the stems of these notes _centered_ on the notehead as in
77 the mensural music notation.
79 - after the leading measure in the above mentioned score I want a double
80 bar line fully drawn across the staves and after that keep to the
81 ChoirStaff bar line types in the rest of the scores
83 - autoBeamMelisma: if I explicitly beam notes in a staff with auto
84 beaming disabled I would like to have these beams also to be
87 . * make all Feta (including dynamics) available to the user in
88 textual scripts. Examples: "D.S. al \coda", "\mf espress.".
90 . * ? -Q, --find-old-relative show all changes in relative syntax
91 What's old about absolute to relative conversion? Could maybe use for
94 . * Junk shared cruft (duration, moment) in lib/
98 . * \$ and $ identifier syntax in examples.
99 . * Junk ghost positioning objects eg, Script leans on Staffside
102 . * Key_engraver, Local_key_item
103 . * Think of comprehensive solution for "if (grace_b == self_grace_b_)"
104 . * String[String.length] doesn't trap.
107 . * Rhythmic_column and interaction stem/rhythmic_column/note_head/dots.
111 . * Lookup::text -> needs to be TeX independent.
112 . * junk Music_iterator::first_b_
116 . * [c8. c16 c16 c16] in 6/8 timesig.
117 . * staffside spanner (crescendo!) along with staffswitch.
124 . * sort out breve shapes.
125 . * \time forces keysig?
128 . * We need feta-din*.mf files for more sizes than 10.
129 - Rests and beams don't work too well together. Example:
130 [ r8 g''16 des'] [r8 c16 a]
132 - The stemLength property should affect also beamed stems.
134 . * align left edge of broken tuplet-spanner (have a test case?)
135 . * fix dynamics decently, ie. use kerning & ligatures.
136 . * key restorations & repeats
137 . * paperXX.ly \quartwidth, font setting not up to date. (Should read from AFM?)
138 . * * auto melismaBusy for beams.
139 . *In Caro Mio Ben, bar 8, there's a syllable that starts on a note, and
140 ends on a pair of grace notes. Standard practice is to mark this with
141 a slur starting on the main note and ending on the grace note, so a
142 singer knows where to break the words.
144 In bar 27, there's a crescendo that's supposed to start at the start
145 of the grace notes and extend to the note after the grace notes.
146 . * 5. Sometimes lyrics extend past the right end of the staff. I guess that
147 this is a similar problem (if not another symptom of the same problem) as
148 one of the spacing bugs mentioned in the TODO.
149 . * 4. Lyrics and grace sections don't go too well together.
150 The words are aligned with the main note, not the start of the
151 grace note. This is usually wrong, but is sometimes right.
152 . * decimal point in \paper {}
154 . * repeats and partial measures.
155 . * rhythmic staff & accidentals.
156 . * use melismaBusy in Lyric context to typeset melismata correctly.
157 . * ly2dvi/lilypond logfile.
158 . * hang Item on Spanner
159 . * do --safe for PS output?
161 . * collision of lyrics with span_bars. See star-spangled.
162 . * Auto_beam debugging output (waarom/wanneer heb jij die weggehaald?)
163 . * It is impossible to typeset two textual scripts that are stacked
164 on top of eachother and avoids note collisions and at the same
165 time are typeset with different textStyle. I tried to move around
166 the text_engraver and other engravers between Voice and Thread
167 but the granularity is not fine enough, the scripts have to
168 share the same engraver in order to be get correct vertical
169 position but than they cannot have different style.
170 In my opinion, all scripts that share the same staff, should
171 be stacked vertically, avoiding collisions with the notes
175 . * don't shorten stems/staffs closer to each other.
176 . * accidentals closer to note head
177 . * to space the staffs/staffgroups contained in the score.
180 . * tuplets that are written as "number : note", for example
181 "3 : [image of a half note here]". possible?
182 . * a note with a circle after it, meaning:
184 note + circle = note + 1/4 of its length
186 the circle is like a dot that's not filled in. for example, on
187 page three, the c-sharp on the second line should be a quarter with
188 a circle, not a quarter tied to a sixteenth. is this at all
190 . * make dependencies () a virtual function.
191 . * deprecate hangOnClef.
192 . * Abstraction for engravers:
193 . * make "in-between" engraver (Tie)
194 . * make wide_spanner_engraver (line_group_spanner, staff_symbol)
195 . * store req -> element, element -> element causes for warnings
196 . * compulsory hshift
197 . * My wish list for lyrics. I dream of a time when I will have enough time to
198 become familiar enough with the source code to be able to implement some of
199 these myself, but I don't know when that will be, so I thought I'd "publish"
200 my suggestions in case someone else is in a position to give them some
201 priority. Otherwise, perhaps they could go on the todo list?
203 If any of these are already implemented, please let me what the syntax is to
206 1. Stanza numbering. Numbering at the beginning of a song with the number
207 set to the left of the first note. It would also be nice (but not as
208 important) to be able to have some form of automatic numbering at the
209 beginning of each new line. This would make it easier to follow songs with a
210 large number of stanzas.
212 3. Notes centred above/below lyrics rather than left-aligned.
214 4. It would be very nice to be able to build some kind of phrasing into the
215 lyrics of hymns, etc, so that the first words of a phrase are left aligned
216 with each other, the last words are right aligned, and the words in between
219 5. In a song, with (say) four stanzas and a chorus, it would be nice to be
220 able to vertically align the chorus midway between the staves.
222 6. It would be nice to be able to put vertical brackets either side of a
223 repeated section with different words for each repeat.
224 . * Give # lines in linebreaking.
226 . * rewrite context defs using Scheme
227 . * junk TeX specifics from internal code.
228 . * \selectmusic to cut pieces from music.
229 . * formatting of input stuff.
231 . * TODO: merge atom & molecule; make tree from molecule.
232 . * Align_element::padding ?
233 . * use streambufs and iostream
234 to provide IO handling for TeX stream, mudela stream, data-file.
235 . * seriously buffer TeX output (do profile of writing .5 mb TeX file.)
236 . * fix partial measures in meaningful way.
237 . * uniformise recent feta contributions.
238 . * bigger and fatter 4/4 C
239 . * relative mode for midi2ly
240 . * junking \skip req in lyrics
241 . * midi2ly empty staffs.
242 . * use Fourier transformation for rhythmic quantisation.
243 . * horizontal centering of dynamics
244 . * $DEPENDENCIES_OUTPUT support
245 . * turn slope-damping on/off
246 . * sort out directory stuff.
248 . * -I option per filetype?
250 . * fix vertical alignment and stafflines
251 . * declaring Performers
252 . * text-items clash with stems/beams
253 . * --include, -I option for ly2dvi (pass on to lily)
254 . * fix placement of beam-less abbrev
256 <{\voiceone cis4. cis8 cis4 | cis4 cis cis | r1 }
257 {\voicetwo cis,4 r r | r2. | r1 }> |
259 . * Musical_pitch (analogous to Duration and Rhythmic_req)
260 think about, analogous to pitch:
261 * { a4 a16 } c <-- duration of c?
262 * < a4 b8 > c <-- duration of c?
264 . * make sure all ex's have a mudela-version
265 . * do rest-collisions for Multi_measure_rests as well.
266 . * split error/warning in error/warning/non_fatal_error
267 . * add a Duration_convert member to Duration_iter to set parameters.
268 Junk global duration settings.
269 . * en-,discouraged linebreaking:
270 . * handle DISALLOW < penalty > FORCE
271 . * discourage breaking of slurs
272 . * fix variable define/lookup parser global<->paper
273 . * fix title/instrument placements; see input/test/title.ly
274 . * <\voiceone c4. \voicetwo c4>
275 . * I'd like to change the \repetitions command to Jan's suggested
276 syntax: \repeat "repeatsymbol" 2 {...}, but I'm not sure that
277 I understand the implementation of repeats well enough.
278 . * add full cello suites to web site (kom op, Maarten!)
279 . * add mudela-book-doc source to webstie.
280 . * Rethink Time_description
281 \cadenza , \meter, should all be \properties
282 . * fix singleStaffBracket
284 . * partial -> anacrouse
285 . * move paper vars into engraver properties
286 . * add new glyphs to font.ly
287 . * check for groff / troff/ nroff et
288 . * more intelligent file searching
289 . * disable spaces in TeX stuff
290 . * handle ^C for tmp/file creation.
291 . * make LilyPond RPM fully relocatable
292 . * better hshift (dots, distance, head dependent)
293 . * didot / big point.
294 . * clefs (AG): The "8" should appear closer to the actual clef,
296 . * put errorlevel in Input class
297 . * junk nesting slurs
298 . * distinguish between unset and empty properties.
301 . * the bracket is ugly (wings are too parabolic, should be more circular)
302 . * versioning for Feta
303 . * rewrite dynamic signs. They're kind of spaghetti now.
304 . * The `3' in the meter key is a one or two pixels too thin (at 600dpi)
306 . * design macro for penstroke with rounded endings
307 . * timesig C: fat yet less curved. Check out relations.
308 . * design decent macro for bulbed endings
309 . * printer dependencies.
312 . * work out sizes of character fonts.
314 . * piano pedals: Ped/*
316 . * coda signs: Segno, O+
317 . * glissando, arpeggio
319 . * include important spacing dims in fetalog
320 . * scalability: use blot_diameter everywhere, make font chubbier for
324 . * UMR: Uninitialized memory read
325 This is occurring while in:
328 Keyword_table::Keyword_table(Keyword_ent*) [keyword.cc:28]
329 My_lily_lexer::My_lily_lexer() [my-lily-lexer.cc:78]
330 My_lily_parser::parse_file(String,String) [my-lily-parser.cc:54]
331 do_one_file(String,String) [scores.cc:124]
332 Reading 4 bytes from 0xefffeca8 on the stack.
333 Address 0xefffeca8 is 728 bytes below frame pointer in function
334 . * Array<Axis [2] > axeses;
336 for (int i=0; i < loose_elems.size (); i++)
338 Score_element* elt = loose_elems[i];
340 with which axes do we have to meddle?
344 for (int a = X_AXIS; a < NO_AXES; ++a)
345 if (elt->parent_l (Axis (a)) == this)
353 . * patch: don't touch timestamp if all patches fail.
354 . * MetaPost: should not generate setgray for unfill
355 . * mfplain.ini not in tetex 0.9
356 . * mf-to-table -> add space 'before ; in AFM output. (-> check AFM
357 spec. Is this a bug in afm2tfm?)
358 . * check out GCC signatures?
360 f = fopen ("/dev/null", "r")
362 . * tetex: mfplain.mem
366 . * stack scripts in chords:
367 % fingering: footing:
368 < a-4 c-2 g-1 > < c-\ltoe e-\lheel >
370 . * slur parts as a script
371 . * stack parameterised scripts for fingering and footing:
374 . * automatically add a \version if not present.
377 . * convert-mudela -e empty.ly
379 . * emacs mudela-mode
380 . * should handle block comments too.
381 . * handle lexer modes (\header, \melodic, \lyric) etc.
384 . * fontlock: \melodic \melodic
386 . * use properties for:
392 . * optimal pagebreaking.
394 . * internationalisation for input.
395 . * Unicode support? -> man 7 unicode
396 . * (The explanation below is mostly intended for Han-Wen and Jan)
397 > Before, the font was changed with macros declared separately for
398 > pure TeX and LaTeX, but now all the fonts are declared directly in
399 > the generated code using the low-level TeX commands. This circumvents
400 > the fontencoding mechanism of LaTeX and is a potential source of
401 > problems also for us users of the Latin-1 character set.
402 > I think it still works since the inputencoding latin1 is
403 > declared by ly2dvi, but it still means that e.g. an o with
404 > umlaut is typeset as a combination of the two symbols 'o' and
405 > 'umlaut' instead of as a single character, as would be the case
406 > if fontencoding OT1 had been used. This shouldn't give any
407 > difference in layout, though. One of the main argument for using
408 > fontencoding OT1 is for the hyphenation mechanism to work, an
409 > argument that's clearly irrelevant in our application. Yet we
410 > see the problem for August.
413 . * output header info to MIDI too.
415 . * a musical dictionary. See Documentation/vocabulary-*, other
425 . * guitar chords (fret diagrams)
426 . * other chord name styles (american(?) style)
431 . * derive lily_stream, Dstream, texstream from ostream?
432 . * indentable stream as baseclass for TeX stream, lily stream, Dstream.
433 . * use dstream feature in midi2ly
434 . * integrate IO checking into stream class
441 . * add to MIDI output:
442 . * sharp / flat on trills (in MIDI ??)
443 . * ornaments (and trills?)
447 > Would it be hard to add support for proper dynamics in MIDI output? I
448 > would really like to have this feature...
450 Concretely spoken, for dynamics you have to write a performer
451 (Dynamics_performer), that will take the input requests. If I
452 understand correctly, every MIDI note played must have its dynamic
453 strength set separately. That means the the Dynamics_performer must
454 set the strength of every Audio_note it finds. This means that one
455 has to modify existing Audio items. The best way of doing this is
456 with a broadcast/acknowledge process.
458 So the best way of handling this, is
460 1 supporting dynamic settings in Audio_note
462 2 Write a Dynamics_performer that will modify
463 any notes it finds to set appropriate strengths.
465 I'd say that the work involved is not hard, but you have to be fluent
466 with C++ and need some insight into the working of Notation Contexts
467 and friends. I guess I could do it in a day or so, but if you are not
468 so fluent with the inner workings of LilyPond, it could take you some
469 more time (A few more days?).
471 Please note, that I am *not* going to code this myself: my days are
472 valuable, and I think I have more interesting things to do than fixing
473 the MIDI output (I don't even have a soundcard). But I *do* want to help
474 you or other people with implementing this, so if you need help, don't
476 . * account for rhythmic position in measure
480 . * Output class, handles : (smallish)
481 . * help text /(c) notice?
483 . * warning /errors/progress
484 . * abort on error/warning; exit status
485 . * quiet/ignore-version options
489 . * speed up PS code.
490 . * PS lines to .eps files
491 . * write custom prolog
496 . * internal documentation
498 . * more spanners (smallish)
502 . * Rewrite Stem, Beam (hairy)
503 . * general shaving on Beam and Stem
504 . * use plet grouping
508 . * Ledger lines, should be separate item: Ledger_lines
509 . * beam stem showthrough, inter beam sizes (french vs german style)
512 . * left/right note balls should be handled by Collision:
513 < \multi 2; { \stem 1; <b c> } { <f as b> } >
516 . * merge key{item} & localkey{item}?
520 . * redo Notehead to allow digits as heads
521 . * add a \tablature {} lexer mode for easy entering
523 . * should adjust stemlength for flag number.
527 . * specify number of lines
530 . * convention for slurs vs. phrasing marks.
534 . * \bla {} vs \bla ;
535 . * \once\property KEY = VAL
537 . * Figure out semicolons.
548 . * configure pitch_byte
549 . * rest name configurable
554 . * A range for context errors (eg. mark both { and }. )
556 . * lyric in staff (sharpsharp in staff, text below)
558 . * write Dynamic_line (to group dynamics horizontally)
560 . * use Real for all y positions.
562 . * half-sharps, half-flats
564 . * adaptive accidental spacing.
566 . * handle EOF graciously in error messages.
568 . * midi esp.: use I32 iso int where 32 bits are needed (or assumed...)
572 . * % toe to bheel four to five
578 (where "to" is a tiny bow)
580 . * auxilliary file for caching info.
584 . * Output data structures of Mudela in XML/SGML.
585 . * create libmudela, or liblily_frontend
586 . * move MIDI stuff (including Quantization) to a ANSI C libmidi library.
587 . * Spacing_request for manually adjusting spacing
588 . * caching breakpoints
589 . * used fixedpoint arithmetic for min. energy.
594 (defvar outline-font-lock-keywords
595 '(;; Highlight headings according to the level.
596 ;; must change this to allout node layout
597 ;;("^\\(\\*+\\)[ \t]*\\(.+\\)?[ \t]*$"
598 ("^\\([.]*[ ]*[*]\\)[ \t]*\\(.*\\)$"
599 (1 font-lock-string-face)
600 (2 (let ((len (- (match-end 1) (match-beginning 1))))
601 (or (cdr (assq len '((1 . font-lock-function-name-face)
602 (2 . font-lock-keyword-face)
603 (3 . font-lock-comment-face))))
604 font-lock-variable-name-face))
606 ;; Highlight citations of the form [1] and [Mar94].
607 ("\\[\\([A-Z][A-Za-z]+\\)*[0-9]+\\]" . font-lock-type-face))
608 "Additional expressions to highlight in Outline mode.")
610 (add-hook 'outline-mode-hook
612 (setq font-lock-maximum-decoration t)
613 (setq font-lock-maximum-decoration t)
614 (make-local-variable 'font-lock-defaults)
615 (setq font-lock-defaults '(outline-font-lock-keywords t))
616 (font-lock-mode global-font-lock-mode)