release: 1.1.67

[lilypond.git] / Documentation / tex / lilypond-regtest.doc

diff --git a/Documentation/tex/lilypond-regtest.doc b/Documentation/tex/lilypond-regtest.doc
index b2c728229357cd1c169030cbd0b3c23f534dde27..3154acf42b82b9487c032ab93c56addcf3af6c6d 100644 (file)
--- a/Documentation/tex/lilypond-regtest.doc
+++ b/Documentation/tex/lilypond-regtest.doc
@@ -1,4 +1,4 @@
-% -*-LaTeX-*-
+% -*-LaTeX-*-  vim:tw=72
 \documentclass{article}
 
 \title{LilyPond feature test}
@@ -27,9 +27,10 @@ you must create a special context called Thread.
 
 Noteheads can have dots, and ---although this is bad style in duple
 meters--- rests can too.  Augmentation dots should never be printed on
-a staff line, but rather be shifted: down stem notes shift dots down,
-up stem up.  In case of chords, all dots should be in a column.  The
-dots go along as rests are shifted to avoid collisions.
+a staff line, but rather be shifted vertically. They should go up, but
+in case of multiple parts, the down stems have down shifted dots.
+(Wanske p. 186) In case of chords, all dots should be in a column.
+The dots go along as rests are shifted to avoid collisions.
 
 \mudelafile{dots.fly}
 
@@ -49,6 +50,14 @@ tremolo must be parallel to the beam.  If the stem is invisible
 
 \mudelafile{stem-tremolo.ly}
 
+Chord tremolos look like beams, but are a kind of repeat symbol.
+To avoid confusion, chord tremolo beams do not reach the stems, but 
+leave a gap.  Chord tremolo beams on half notes are not ambiguous,
+as half notes cannot appear in a regular beam, and should reach the 
+stems.
+  
+\mudelafile{chord-tremolo.sly}
+
 Beams, stems and noteheads often have communication troubles, since
 the two systems for y dimensions (1 unit = staffspace, 1 unit = 1
 point) are mixed.
@@ -63,6 +72,13 @@ Similarly, if \verb+stem_default_neutral_direction+ is set to \verb+-1+.
 
 \mudelafile{stem-direction-down.ly}
 
+\section{Scripts}
+
+The staccato dot (and all scripts with follow-into-staff set), must
+not be on staff lines.
+
+\mudelafile{staccato-pos.sly}
+
 \section{Grace notes}
 
 Grace notes are typeset as an encapsulated piece of music. You can
@@ -85,11 +101,6 @@ hidden just as with breakable bar lines.
 
 \mudelafile{beaming.ly}
 
-%Beams should not interfere with various items on the staff (amongst
-%others repeat signs)
-%
-% \mud elafile{beam-repeat.ly}
-
 Beams should behave reasonably well, even under extreme circumstances.
 Stems may be short, but noteheads should never touch the beam.
 
@@ -157,12 +168,14 @@ Folded.  This doesn't make sense without alternatives, but it works.
 \section{Lyrics}
 
 Lyrics can be set to a melody automatically.  Excess lyrics will be
-dumped.  Lyrics will not be set over rests.  You can have melismata by
-setting a property melismaBusy.  If you want a different order than
-first Music, then Lyrics, you must precook a chord of staffs/lyrics
-and label those.  Of course \verb+\rhythm+ ignores any other rhythms
-in the piece.  Hyphens and extenders do not assume anything about
-lyric lengths, so they continue to work.
+dumped.  Lyrics will not be set over rests.  You can have melismata
+either by setting a property melismaBusy, or by setting
+automaticMelismas (which will set melismas during slurs and ties).  If
+you want a different order than first Music, then Lyrics, you must
+precook a chord of staffs/lyrics and label those.  Of course
+\verb+\rhythm+ ignores any other rhythms in the piece.  Hyphens and
+extenders do not assume anything about lyric lengths, so they continue
+to work.
 
 \mudelafile{lyric-combine.ly}
 
@@ -176,8 +189,8 @@ cases.
 
 \mudelafile{rest-collision.ly}
 
-Normal collisions. We have support for four voice polyphony, where the
-middle voices are horizontally shifted in a limited number of cases.
+Normal collisions. We have support for polyphony, where the
+middle voices are horizontally shifted.
 
 \mudelafile{collisions.ly}
 
@@ -195,6 +208,12 @@ effects.  In this example, space for opposite pointed stems is adjusted
 
 \mudelafile{stem-spacing.sly}
 
+If there are accidentals in the music, we add space, but the space
+between note and accidentals is less than between the notes with the
+same value.  Clef changes also get extra space, but not as much as
+barlines.
+
+
 Even if a line is very tightly spaced, there will still be room
 between prefatory matter and the following notes.  The space after the
 prefatory is very rigid.  In contrast, the space before the barline