+++ /dev/null
-# Documentation/tex/Makefile
-
-depth=../..
-
-TEX_FILES = $(wildcard *.tex)
-DOC_FILES = $(wildcard *.doc)
-DVI_FILES = $(addprefix $(outdir)/,$(DOC_FILES:.doc=.dvi) $(TELY_FILES:.tely=.dvi))
-
-OUTTEX_FILES = $(addprefix $(outdir)/, $(TEX_FILES))
-OUTDOC_FILES = $(addprefix $(outdir)/, $(DOC_FILES))
-
-EXTRA_DIST_FILES= $(DOC_FILES) $(TEX_FILES) $(wildcard *.sty)
-HTML_FILES = $(addprefix $(outdir)/, $(TEXI_FILES:.texi=.html) $(TELY_FILES:.tely=.html))
-PS_FILES = $(DVI_FILES:.dvi=.ps)
-
-STEPMAKE_TEMPLATES=tex documentation texinfo
-LOCALSTEPMAKE_TEMPLATES=lilypond mudela
-
-export BIBINPUTS:=$(shell pwd)//$(PATHSEP)$(BIBINPUTS)
-include $(depth)/make/stepmake.make
-
-dvi: $(DVI_FILES)
-
-ps: $(PS_FILES)
-
-# urg
-default:
-
-
-localclean:
- rm -f fonts.aux fonts.log feta*.tfm feta*.*pk
-
-local-WWW: $(HTML_FILES)
- $(PYTHON) $(step-bindir)/ls-latex.py --title 'Hacker documentation' \
- $(DOC_FILES) $(TEXI_FILES) $(TELY_FILES) \
- | sed "s!$(outdir)/!!g" > $(outdir)/index.html
+++ /dev/null
-% Creator: mf-to-table.py version 0.7
-% Automatically generated on
-% Do not edit
-% input from out/feta20.log
-% name
-% rests
-\fetdef\wholerest{0}
-\fetdef\halfrest{1}
-\fetdef\outsidewholerest{2}
-\fetdef\outsidehalfrest{3}
-\fetdef\breverest{4}
-\fetdef\longarest{5}
-\fetdef\multirest{6}
-\fetdef\quartrest{7}
-\fetdef\eighthrest{8}
-\fetdef\sixteenthrest{9}
-\fetdef\thirtysecondrest{10}
-\fetdef\sixtyfourthrest{11}
-\fetdef\hundredtwentyeighthrest{12}
-
-% accidentals
-\fetdef\sharp{13}
-\fetdef\natural{14}
-\fetdef\flat{15}
-\fetdef\flatflat{16}
-\fetdef\sharpsharp{17}
-\fetdef\rightparen{18}
-\fetdef\leftparen{19}
-
-% dots
-\fetdef\dot{20}
-\fetdef\repeatcolon{21}
-
-% balls
-\fetdef\brevisball{22}
-\fetdef\brevisledger{23}
-\fetdef\longaball{24}
-\fetdef\longaledger{25}
-\fetdef\wholeball{26}
-\fetdef\wholeledger{27}
-\fetdef\halfball{28}
-\fetdef\halfledger{29}
-\fetdef\quartball{30}
-\fetdef\quartledger{31}
-
-% scripts
-\fetdef\ufermata{32}
-\fetdef\dfermata{33}
-\fetdef\thumb{34}
-\fetdef\sforzatoaccent{35}
-\fetdef\staccato{36}
-\fetdef\ustaccatissimo{37}
-\fetdef\dstaccatissimo{38}
-\fetdef\tenuto{39}
-\fetdef\umarcato{40}
-\fetdef\dmarcato{41}
-\fetdef\ouvert{42}
-\fetdef\plusstop{43}
-\fetdef\upbow{44}
-\fetdef\downbow{45}
-\fetdef\reverseturn{46}
-\fetdef\turn{47}
-\fetdef\trill{48}
-\fetdef\upedalheel{49}
-\fetdef\dpedalheel{50}
-\fetdef\upedaltoe{51}
-\fetdef\dpedaltoe{52}
-\fetdef\flageolet{53}
-\fetdef\trilelement{54}
-\fetdef\prall{55}
-\fetdef\mordent{56}
-\fetdef\prallprall{57}
-\fetdef\prallmordent{58}
-\fetdef\upprall{59}
-\fetdef\downprall{60}
-\fetdef\accDiscant{61}
-\fetdef\accDiscantF{62}
-\fetdef\accDiscantEh{63}
-\fetdef\accDiscantE{64}
-\fetdef\accDiscantFE{65}
-\fetdef\accDiscantFEh{66}
-\fetdef\accDiscantEE{67}
-\fetdef\accDiscantFEE{68}
-\fetdef\accDiscantEEE{69}
-\fetdef\accDiscantFEEE{70}
-\fetdef\accDiscantS{71}
-\fetdef\accDiscantFS{72}
-\fetdef\accDiscantES{73}
-\fetdef\accDiscantEhS{74}
-\fetdef\accDiscantFES{75}
-\fetdef\accDiscantFEhS{76}
-\fetdef\accDiscantEES{77}
-\fetdef\accDiscantFEES{78}
-\fetdef\accDiscantEEES{79}
-\fetdef\accDiscantFEEES{80}
-\fetdef\accDiscantSS{81}
-\fetdef\accDiscantESS{82}
-\fetdef\accDiscantEESS{83}
-\fetdef\accDiscantEEESS{84}
-\fetdef\accFreebass{85}
-\fetdef\accFreebassF{86}
-\fetdef\accFreebassE{87}
-\fetdef\accFreebassFE{88}
-\fetdef\accStdbass{89}
-\fetdef\accStdbassM{90}
-\fetdef\accStdbassBp{91}
-\fetdef\accStdbassT{92}
-\fetdef\accStdbassTp{93}
-\fetdef\accBayanbass{94}
-\fetdef\accBayanbassT{95}
-\fetdef\accBayanbassE{96}
-\fetdef\accBayanbassTE{97}
-\fetdef\accBayanbassEE{98}
-\fetdef\accBayanbassTEE{99}
-\fetdef\accSB{100}
-\fetdef\accBB{101}
-\fetdef\accOldEE{102}
-\fetdef\accOldEES{103}
-
-% flags
-\fetdef\eighthflag{104}
-\fetdef\sixteenthflag{105}
-\fetdef\thirtysecondflag{106}
-\fetdef\sixtyfourthflag{107}
-\fetdef\deighthflag{108}
-\fetdef\dsixteenthflag{109}
-\fetdef\dthirtysecondflag{110}
-\fetdef\dsixtyfourthflag{111}
-
-% clefs
-\fetdef\altoclef{112}
-\fetdef\caltoclef{113}
-\fetdef\bassclef{114}
-\fetdef\cbassclef{115}
-\fetdef\trebleclef{116}
-\fetdef\ctrebleclef{117}
-
-% timesig
-\fetdef\fourfourmeter{118}
-\fetdef\allabreve{119}
-\fetdef\oldfourfourmeter{120}
-\fetdef\oldallabreve{121}
-\fetdef\oldthreetwometer{122}
-\fetdef\oldsixfourmeter{123}
-\fetdef\oldninefourmeter{124}
-
+++ /dev/null
-
- % -*-LaTeX-*-
-
-\documentclass{article}
-\def\kdots{,\ldots,}
-\title{Not the Font-En-Tja font}
-\author{HWN \& JCN}
-\def\preMudelaExample{}
-\def\postMudelaExample{}
-\begin{document}
-\maketitle
-
-
-\section{Introduction}
-
-This document are some design notes of the Feta font, and other
-symbols related to LilyPond. Feta (not an abbreviation of
-Font-En-Tja) is a font of music symbols. All MetaFont sources are
-original. The symbols are modelled after various editions of music,
-notably \begin{itemize} \item B\"arenreiter \item Hofmeister \item
-Breitkopf \item Durand \& C'ie \end{itemize}
-
-The best references on Music engraving are Wanske\cite{wanske} and
-Ross\cite{ross} some of their insights were used. Although it is a
-matter of taste, I'd say that B\"arenreiter has the finest typography
-of all.
-
-
-\section{Bezier curves for slurs}
-
-Objective: slurs in music are curved objects designating that notes
-should fluently bound. They are drawn as smooth curves, with their
-center thicker and the endings tapered.
-
-There are some variants: the simplest slur shape only has the width as
-parameter. Then we give some suggestions for tuning the shapes. The
-simple slur algorithm is used for drawing ties as well.
-
-
-
-\subsection{Simple slurs}
-
-Long slurs are flat, whereas short slurs look like small circle arcs.
-Details are given in Wanske\cite{ross} and Ross\cite{wanske}. The
-shape of a slur can be given as a Bezier curve with four control
-points:
-
-\begin{eqnarray*}
- B(t) &=& (1-t)^3c_1 +3(1-t)^2tc_2 + 3(1-t)t^2c_3 + t^3c_4.
-\end{eqnarray*}
-
-We will assume that the slur connects two notes of the same
-pitch. Different slurs can be created by rotating the derived shape.
-We will also assume that the slur has a vertical axis of symmetry
-through its center. The left point will be the origin. So we have
-the following equations for the control points $c_1\kdots c_4$.
-
-\begin{eqnarray*}
-c_1&=& (0,0)\\
-c_2&=& (i, h)\\
-c_3&=& (b-i, h)\\
-c_4&=& (b, 0)
-\end{eqnarray*}
-
-The quantity $b$ is given, it is the width of the slur. The
-conditions on the shape of the slur for small and large $b$ transform
-to
-\begin{eqnarray*}
- h \to h_{\infty} , &&\quad b \to \infty\\
- h \approx r_{0} b, &&\quad b \to 0.
-\end{eqnarray*}
-To tackle this, we will assume that $h = F(b)$, for some kind of
-$F(\cdot)$. One function that satisfies the above conditions is
-$$
-F(b) = h_{\infty} \frac{2}{\pi} \arctan \left( \frac{\pi r_0}{2
-h_{\infty}} b \right).
-$$
-
-For satisfying results we choose $h_{\infty} = 2\cdot \texttt{interline}$
-and $r_0 = \frac 13$.
-
-\subsection{Height correction}
-
-Aside from being a smooth curve, slurs should avoid crossing
-enclosed notes and their stems.
-
-An easy way to achieve this is to extend the slur's height,
-so that the slur will curve just above any disturbing notes.
-
-The parameter $i$ determines the flatness of the curve. Satisfying
-results have been obtained with $i = h$.
-
-The formula can be generalised to allow for corrections in the shape,
-\begin{eqnarray*}
-c_1&=& (0,0)\\
-c_2&=& (i', h')\\
-c_3&=& (b-i', h')\\
-c_4&=& (b, 0)
-\end{eqnarray*}
-Where
-$$
-i' = h(b) (1 + i_{corr}), \quad h' = h(b) (1 + h_{corr}).
-$$
-
-The default values for these corrections are $0$. A $h_{corr}$ that is
-negative, makes the curve flatter in the center. A $h_{corr}$ that is
-positive make the curve higher.
-
-At every encompassed note's x position the difference $\delta _y$
-between the slur's height and the note is calculated. The greatest
-$\delta _y$ is used to calculate $h_{corr}$ is by lineair extrapolation.
-
-However, this simple method produces satisfactory results only for
-small and symmetric disturbances.
-
-
-\subsection{Tangent method correction}
-
-A somewhat more elaborate\footnote{While staying in the realm
-of empiric computer science} way of having a slur avoid
-disturbing notes is by first defining the slur's ideal shape
-and then using the height correction. The ideal shape of a
-slur can be guessed by calculating the tangents of the disturbing
-notes:
-% a picture wouldn't hurt...
-\begin{eqnarray*}
- y_{disturb,l} &=& \rm{rc}_l x\\
- y_{disturb,r} &=& \rm{rc}_r + c_{3,x},
-\end{eqnarray*}
-where
-\begin{eqnarray*}
- \rm{rc}_l &=& \frac{y_{disturb,l} - y_{encompass,1}}
- {x_{disturb,l} - x_{encompass,1}}\dot x\\
- \rm{rc}_r &=& \frac{y_{encompass,n} - y_{disturb,r}}
- {x_{encompass,n} - x_{disturb,r}} \dot x + c_{3,x}.
-\end{eqnarray*}
-
-We assume that having the control points $c_2$ and $c_3$ located
-on tangent$_1$ and tangent$_2$ resp.
-% t: tangent
-\begin{eqnarray*}
- y_{tangent,l} &=& \alpha \rm{rc}_l x\\
- y_{tangent,r} &=& \alpha \rm{rc}_r + c_{3,x}.
-\end{eqnarray*}
-
-Beautiful slurs have rather strong curvature at the extreme
-control points. That's why we'll have $\alpha > 1$.
-Satisfactory resulsts have been obtained with
-$$
- \alpha \approx 2.4.
-$$
-
-The positions of control points $c_2$ and $c_3$ are obtained
-by solving with the height-line
-\begin{eqnarray*}
- y_h &=& \rm{rc}_h + c_h.
-\end{eqnarray*}
-
-The top-line runs through the points disturb$_{left}$ and
-disturb$_{right}$. In the case that
-$$
-z_{disturb,l} = z_{disturb,r},
-$$
-we'll have
-$$
- \angle(y_{tangent,l},y_h) = \angle(y_{tangent,r},y_h).
-$$
-
-
-
-\section{Sizes}
-
-Traditional engraving uses a set of 9 standardised sizes for Staffs
-(running from 0 to 8).
-
-We have tried to measure these (helped by a magnifying glass), and
-found the staffsizes in table~\ref{fonts:staff-size}. One should note that
-these are estimates, so I think there could be a measuring error of ~
-.5 pt. Moreover [Ross] states that not all engravers use exactly
-those sizes.
-
-\begin{table}[h]
- \begin{center}
- \begin{tabular}{lll}
-Staffsize &Numbers &Name\\
-\hline\\
-26.2pt &No. 0\\
-22.6pt &No. 1 &Giant/English\\
-21.3pt &No. 2 &Giant/English\\
-19.9pt &No. 3 &Regular, Ordinary, Common\\
-19.1pt &No. 4 &Peter\\
-17.1pt &No. 5 &Large middle\\
-15.9pt &No. 6 &Small middle\\
-13.7pt &No. 7 &Cadenza\\
-11.1pt &No. 8 &Pearl\\
- \end{tabular}
- \caption{Foo}
- \label{fonts:staff-size}
- \end{center}
-\end{table}
-
-
-
-
-\section{Beams}
-
-\subsection{Slope}
-
-Traditionally, beam slopes are computed by following a large and hairy
-set of rules. Some of these are talked-about in Wanske, a more
-recipy-like description can be found in Ross.
-
-There are some problems when trying to follow these rules:
-\begin{itemize}
-
-\item the set is not complete
-
-\item they are not formulated as a general rule with exceptions, but
-rather as a huge case of individual rules\cite{ross}
-
-\item in some cases, the result is wrong or ugly (or both)
-
-\item they try to solve a couple of problems at a time (e.g. Ross
-handles ideal slope and slope-quantisation as a paired problem)
-\end{itemize}
-Reading Ross it is clear that the rules presented there are certainly
-not the ultimate idea of what beam(slope)s should look like, but
-rather a (very much) simplified hands-on recipy for a human engraver.
-
-There are good reasons not to follow those rules:
-
-\begin{itemize}
-\item One cannot expect a human engraver to solve least-squares
-problems for every beam
-
-\item A human engravers will allways trust themselves in judging the
-outcome of the applied recipy. If, in a complicated case, the result
-"doesn't look good", they will ignore the rules and draw their own
-beams, based on experience.
-
-\item The exact rules probably don't "really exist" but in the minds
- of good engravers, in the form of experience
-\end{itemize}
-
-We'll propose to do a least-squares solve. This seems to be the best
-way to calculate the slope for a computerised engraver such as Lily.
-
-It would be nice to have some rules to catch and handle "ugly" cases,
-though. In general, the slope of the beam should mirror the pitches
-of the notes. If this can't be done because there simply is no
-uniform trend, it would probably be best to set the slope to zero.
-
-
-\subsection{Quantising}
-
-The beams should be prevented to conflict with the stafflines,
-especially at small slopes. Traditionally, poor printing techniques
-imposed rather strict rules for quantisation. In modern (post 1955)
-music printing we see that quality has improved substantially and
-obsoleted the technical justification for following some of these
-strict rules, notably the avoiding of so-called wedges.
-
-
-\subsection{Thickness and spacing}
-
-The spacing of double and triple beams (sixteenth and thirtysecond beams)
-is the same, quadruple and quintuple (thirtyfourth and hundredtwentyeighth
-beams) is wider.
-All beams are equally thick. Using the layout of triple beams and the
-beam-thickness $bt$ we can calculate the inter-beam spacing $ib$.
-
-Three beams span two interlines, including stafflines:
-\begin{eqnarray*}
- 2 ib + bt &=& 2 il\\
- ib &=& (2 il - bt) / 2
-\end{eqnarray*}
-
-We choose
-\begin{eqnarray*}
- bt &=& 0.48(il - st)
-\end{eqnarray*}
-
-\subsubsection{Quadruple beams}
-
-If we have more than three beams they must open-up
-in order to not collide with staff lines. The only valid
-position that remains is for the upper beam to hang.
-
-\begin{eqnarray*}
- 3 ib_{4+} + bt &=& 3 il\\
- ib_{4+} &=& (3 il - bt) / 3
-\end{eqnarray*}
-
-
-\section{Layout of the source files}
-
-The main font (with the fixed size music glyphs) uses a the \TeX\
-logfile as a communication device. Use the specialised macros to
-create and export glyphs.
-
-\bibliographystyle{plain}
-\bibliography{engraving}
-
-
-
-\end{document}
-
-\begin{verbatim}
-Paul Terry <paul@musonix.demon.co.uk> writes:
-
-Ross states that the dies (the stamps to make the symbols) come in
-12 different sizes.
-
->Can you tell me how big rastrals are?
-
-According to the Score manual:
-
- Rastral Size Height in millimetres
-
- 0 9 mm
- 1 8 mm
- 2 7.5 mm
- 3 7 mm
- 4 6.5 mm
- 5 6 mm
- 6 5.5 mm
-
-I must say, despite having been a music setter for many years, I had to
-look these up - none of the publishers I work for deal in Rastral sizes
-these days (they all use millimetres).
+++ /dev/null
-\input texinfo @c -*-texinfo-*-
-@setfilename internals.info
-@settitle LilyPond internals
-
-@node Top, LilyPond internals, (dir), (dir)
-@top
-
-
-@menu
-* LilyPond internals::
-* Overview::
-* mudela::
-* Request_engraver::
-* Graphic elements::
-* Score elements::
-* Items::
-* Spanners::
-* Future work::
-* Coding standards::
-* Making patches::
-
-@end menu
-
-@node LilyPond internals, , Top, Top
-@menu
-* Overview:: Overview
-* mudela:: mudela
-* Request_engraver:: Request_engraver
-@end menu
-
-
-@chapter Help Needed!
-
-[Call for help]
-
-[List tasks:
-
-* Mutopia
-
-* Doco LilyPond
-
-* Straightforward extensions
-
-* GUI editors.
-
-]
-
-@chapter LilyPond internals
-
-
-This documents some aspects of the internals of GNU LilyPond. Some of
-this stuff comes from e-mail I wrote, some from e-mail others wrote,
-some are large comments taken away from the headers. This page may be
-a little incoherent. Unfortunately, it is also quite outdated. A
-more thorough and understandable document is in the works.
-
-You should use @code{doc++} to take a peek at the sources.
-
-@node Overview, mudela, Top, Top
-@section Overview
-
-GNU LilyPond is a "multi-pass" system. The different passes have been
-created so that they do not depend on each other. In a later stage
-some parts may be moved into libraries, or seperate programs, or they
-might be integrated in larger systems.
-
-@table @samp
-
-@item Parsing:
-
-No difficult algorithms. The .ly file is read, and converted to a list
-of @code{Scores}, which each contain @code{Music} and paper/midi-definitions.
-
-@item Interpreting music
-
-The music is walked through in time-order. The iterators which do the
-walking report Music to Translators which use this information to
-create elements, either MIDI or "visual" elements. The translators
-form a hierarchy; the ones for paper output are Engravers, for MIDI
-Performers.
-
-The translators swallow Music (mostly atomic gobs called Requests),
-create elements, broadcast them to other translators on higher or same
-level in the hierarchy:
-
-The stem of a voice A is broadcast to the staff which contains A, but
-not to the stems, beams and noteheads of a different voice (say B) or
-a different staff. The stem and noteheads of A are coupled, because
-the the Note_heads_engraver broadcasts its heads, and the Stem_engraver catches
-these.
-
-The engraver which agrees to handle a request decides whether to to
-honor the request, ignore it, or merge it with other requests. Merging
-of requests is preferably done with other requests done by members of
-the same voicegroups (beams, brackets, stems). In this way you can put
-the voices of 2 instruments in a conductor's score so they make chords
-(the Beam requests of both instruments will be merged).
-
-@item Prebreaking
-
-Breakable stuff (eg. clefs and bars) are copied into pre and
-postbreaks.
-
-@item Preprocessing
-
-Some dependencies are resolved, such as the direction of stems, beams,
-and "horizontal" placement issues (the order of clefs, keys etc,
-placement of chords in multi-voice music),
-
-@item Break calculation:
-
-The lines and horizontal positions of the columns are determined.
-
-@item Breaking
-
-Through some magical interactions with Line_of_score and Super_elem
-(check out the source) the "lines" are produced.
-
-All other spanners can figure across which lines they are spread. If
-applicable, they break themselves into pieces. After this, each piece
-(or, if there are no pieces, the original spanner itself) throws out
-any dependencies which are in the wrong line.
-
-@item Postprocesing:
-
-Some items and all spanners need computation after the Paper_column
-positions are determined. Examples: slurs, vertical positions of
-staffs.
-
-@item Output paper
-
-@end table
-
-@node mudela, Request_engraver, Overview, Top
-@section mudela
-
-Most information is stored in the form of a request. In music
-typesetting, the user might want to cram a lot more symbols on the
-paper than actually fits. To reflect this idea (the user asks more
-than we can do), the container for this data is called Request.
-
-In a lot of other formats this would be called an 'Event'
-
-@table @samp
-@item @code{Barcheck_req}
- Checks during music processing if start of this voice element
- coincides with the start of a measure. Handy to check if you left out
- some voice elts.
-@item @code{Note_req}
- LilyPond has to decide if the ball should be hanging left or
- right. This influences the horizontal dimensions of a column, and this
- is why request processing should be done before horizontal spacing.
- Other voices' frivolities may cause the need for accidentals, so this
- is also for the to decide. The engraver can decide on positioning based on
- ottava commands and the appropriate clef.
-@item @code{Rest_req}
- Typeset a rest.
-@item @code{Span_req}
- This type of request typically results in the creation of a @code{Spanner}
-@item @code{Beam_req}
- Start/stop a beam.
- Engraver has to combine this request with the stem_request, since the
- number of flags that a stem wants to carry will determine the
- number of beams.
-@item @code{Dynamic}
- Each dynamic is bound to one note (a crescendo spanning multiple
- notes is thought to be made of two "dynamics": a start and a stop).
- Dynamic changes can occur in a smaller time than the length of its
- note, therefore fore each @code{Dynamic} request carries a time, measured
- from the start of its note.
-@end table
-
-@node Request_engraver, , mudela, Top
-@section Request_engraver
-
-In the previous section the idea of Request has been explained, but
-this only solves one half of the problem. The other half is deciding
-which requests should be honored, which should merged with other
-requests, and which should be ignored. Consider this input
-
-@example
-
- \type Staff < % chord
- @{ \meter 2/4; [c8 c8] @}
- @{\meter 2/4; [e8 e8] @}
- >
-
-@end example
-
-Both the cs and es are part of a staff (they are in the same
-Voice_group), so they should share meters, but the two [ ] pairs
-should be merged.
-
-The judge in this "allocation" problem a set of brokers: the requests
-are transmitted to so-called engravers which respond if they want to
-accept a request eg, the @code{Notehead_engraver} will accept
-@code{Note_req}s, and turn down @code{Slur_req}s. If the Music_iterator
-cannot find a engraver that wants the request, it is junked (with a
-warning message).
-
-After all requests have been either assigned, or junked, the Engraver
-will process the requests (which usually means creating an @code{Item}
-or @code{Spanner}). If a @code{Request_engraver} creates something, it
-tells the enclosing context. If all items/spanners have been created,
-then each Engraver is notified of any created Score_element, via a
-broadcasting system.
-
-@unnumberedsubsec example:
-
-@example
-
- c4
-
-@end example
-
-produces:
-
-@example
-
- Note_request (duration 1/4)
- Stem_request (duration 1/4)
-
-@end example
-
-Note_request will be taken by a @code{Notehead_engraver}, stem_request
-will be taken by a @code{Stem_beam_engraver}. @code{Notehead_engraver}
-creates a @code{Notehead}, @code{Stem_beam_engraver} creates a
-@code{Stem}. Both announce this to the Staff_engraver. Staff_engraver
-will tell @code{Stem_beam_engraver} about the @code{Notehead}, which
-will add the @code{Notehead} to the @code{Stem} it just created.
-
-To decide on merging, several engravers have been grouped. Please
-check @file{init/engraver.ly}.
-
-
-
-@node Graphic elements, , , Top
-@section Graphic elements
-
-
-Music notation is composed of a sets of interrelated glyphs. In
-Lilypond every glyph usually is represented by one object, a so-called
-Graphic Object. The primary relations between graphic objects involve
-positions:
-
-@itemize
-@item consecutive notes are printed left to right, grouped in a staff
-@item simultaneous notes are horizontally aligned (internally grouped in
-a paper column).
-@item the staccato mark is horizontally centered on the note it applies
-to.
-@end itemize
-
-The abstract encoding of such relations is done with the concept
-@dfn{reference point}. The reference point (in X direction) of the
-staccato mark is the note it applies to. The (X) position of the
-staccato mark is stored relative to the position of the note head. This
-means that the staccato will always maintain a fixed offset wrt to the
-note head, whereever the head is moved to.
-
-In the same vein, all notes on a staff have their Y positions stored
-relative to an abstract object called Axis_group_spanner. If the
-Axis_group_spanner of one staff is moved, the absolute Y positions of
-all objects in that spanner change along, in effect causing the staff
-and all its contents to move as a whole.
-
-Each graphic object stores a pointer and an relative offset for each
-direction: one for the X-axis, one for the Y-axis. For example, the X
-parent of a Note_head usually is a Note_column. The X parent of a
-Note_column usually is either a Collision or a Paper_column. The X
-parent of a Collision usually is a Paper_column. If the Collision
-moves, all Note_heads that have that Collision as parent also move, but
-the absolute position of the Paper_column does not change.
-
-To build a graphical score with Graphic_elements, conceptually, one
-needs to have one Root object (in Lilypond: Line_of_score), and
-recursively attach objects to the Root. However, due to the nature
-of the context selection mechanisms, it turns out to be more
-advantageous to construct the tree the other way around: first small
-trees (note heads, barlines etc.) are created, and these are
-subsequently composed into larger trees, which are finally hung on a
-Paper_column (in X direction) or Line_of_score (in Y direction).
-
-The structure of the X,Y parent relations are determined by the
-engravers and notation contexts:
-
-The most important X-axis parent relation depends on the timing: notes
-that come earlier are attached to Paper_column that will be positioned
-more to the left.
-
-The most important Y-axis relation depends on containment of contexts:
-notes (created in a Thread or Voice context) are put in the staff where
-the originating context lives in.
-
-Graphical_axis_groups are special graphic objects, that are designed to
-function as a parent. The size of a Graphical_axis_groups group is the
-union of its children.
-
-@node Score elements, , , Top
-
-Besides relative positions there are lots of other relations between
-elements. Lilypond does not contain other specialized relation
-management (Like the relative positioning code). In stead, objects can
-be connected through dependencies, which sets the order in which objects
-are to be processed.
-
-Example: the direction of a beamed stem should equal the direction of
-the beam. When the stem is a added to the beam, a dependency on the
-beam is set in the stem: this means that @code{Beam::do_pre_processing
-()} (which does various direction related things) will be called before
-@code{Stem::do_pre_processing ()}.
-
-The code that manages dependencies resides in the class
-@code{Score_element}, a derived class of @code{Graphical_element}. The
-bulk of the code handles line breaking related issues.
-
-To sketch the problems with line breaking: suppose a slur spans a line
-break,
-@example
-
-c4( c'''' c | \break d d )d
-
-@end example
-In this case, the slur will appear as two parts, the first part spanning
-the first three notes (the @code{c}s), the second spanning the last
-three (the @code{d}s). Within Lilypond this is modeled as breaking the
-slur in parts: from the Original slur, two new clones of the old slur
-are made. Initially both clones depend on the six notes. After the
-hairy code in Score_element, Spanner and Item which does substitutions
-in sets of dependencies, the first clone depends on the first three
-notes, the second on the last three.
-
-The major derived classes of Score_element are Item and Spanner.
-An item has one horizontal position. A spanner hangs on two items.
-
-@node Items, , , Top
-@section Items
-
-
-
-An item is a score element that is associated with only one
-Paper_column. Examples are note heads, clefs, sup and superscripts, etc.
-Item is a derived class of Score_element.
-
-The shape of an item is known before the break calculations, and line
-spacing depends on the size of items: very wide items need more space
-than very small ones.
-
-An additional complication is the behavior of items at linebreaks. For
-example, when you do a time signature change, you get only one symbol.
-If it occurs at a linebreak, the new time signature must be printed both
-before and after the linebreak. Other `breakable symbols' such as
-clefs, and bar lines also exhibit this behavior.
-
-if a line of music is broken, the next line usually gets a clef. So in
-TeX terms, the clef is a postbreak. The same thing happens with meter
-signs: Normally the meter follows the bar. If a line is broken at that
-bar, the bar along with the meter stays on the "last" line, but the next
-line also gets a meter sign after the clef. To support this,
-breakable items are generated in the three versions: original
-(unbroken), left (before line break) and right (after line break).
-During the line spacing, these versions are used to try how the spacing
-of a line works out.
-
-Once the definitive spacing is determined, dependencies (and various
-other pointers) are substituted such that all dependencies point at the
-active items: either they point at the original, or they point at left
-and right.
-
-@node Spanners, , , Top
-@section Spanners
-
-Spanners are symbols that are of variable shape, eg. Slurs, beams, etc.
-Spanners is a derived class of Score_element.
-
-The final shape can only be determined after the line breaking process.
-All spanners are spanned on two items, called the left and right
-boundary item. The X reference point is the left boundary item.
-
-
-@node Future work, , , Top
-@section Future work
-
-There are plans to unify Spanner and Item, so there will no longer be
-such a clear distinction between the two. Right now, Score_elements are
-always either Item or either Spanner.
-
-Most of the properties of a graphic object are now member variables of
-the classes involved. To offer configurability, we want to move these
-variables to scheme (GUILE) variables, and no longer use C++ code to
-calculate them, but use Scheme functions.
-
-@node Coding standards, , , Top
-
-@chapter CodingStyle - standards while programming for GNU
-LilyPond
-
-Functions and methods do not return errorcodes.
-
-
-@unnumberedsubsec Languages
-
-C++ and Python are preferred. Perl is not. Python code should use an
-indent of 8, using TAB characters.
-
-@unnumberedsubsec Filenames
-
-Definitions of classes that are only accessed via pointers
-(*) or references (&) shall not be included as include files.
-
-filenames
-
-@example
- ".hh" Include files
- ".cc" Implementation files
- ".icc" Inline definition files
- ".tcc" non inline Template defs
-@end example
-
-in emacs:
-
-@example
- (setq auto-mode-alist
- (append '(("\\.make$" . makefile-mode)
- ("\\.cc$" . c++-mode)
- ("\\.icc$" . c++-mode)
- ("\\.tcc$" . c++-mode)
- ("\\.hh$" . c++-mode)
- ("\\.pod$" . text-mode)
- )
- auto-mode-alist))
-@end example
-
-
-The class Class_name_abbreviation is coded in @file{class-name-abbr.*}
-
-@unnumberedsubsec Indentation
-
-Standard GNU coding style is used. In emacs:
-
-@example
- (add-hook 'c++-mode-hook
- '(lambda() (c-set-style "gnu")
- )
- )
-@end example
-
-If you like using font-lock, you can also add this to your @file{.emacs}:
-
-@example
- (setq font-lock-maximum-decoration t)
- (setq c++-font-lock-keywords-3
- (append
- c++-font-lock-keywords-3
- '(("\\b\\([a-zA-Z_]+_\\)\\b" 1 font-lock-variable-name-face)
- ("\\b\\([A-Z]+[a-z_]+\\)\\b" 1 font-lock-type-face))
- ))
-@end example
-
-@unnumberedsubsec Classes and Types
-
-@example
- This_is_a_class
-@end example
-
-@unnumberedsubsec Members
-
-@example
- Class::member ()
- Type Class::member_type_
- Type Class::member_type ()
-@end example
-
-the @code{type} is a Hungarian notation postfix for @code{Type}. See below
-
-@unnumberedsubsec Macros
-
-Macros should be written completely in uppercase
-
-The code should not be compilable if proper macro declarations are not
-included.
-
-Don't laugh. It took us a whole evening/night to figure out one of
-these bugs, because we had a macro that looked like
-@code{DECLARE_VIRTUAL_FUNCTIONS ()}.
-
-@unnumberedsubsec Broken code
-
-Broken code (hardwired dependencies, hardwired constants, slow
-algorithms and obvious limitations) should be marked as such: either
-with a verbose TODO, or with a short "ugh" comment.
-
-@unnumberedsubsec Comments
-
-The source is commented in the DOC++ style. Check out doc++ at
-@uref{http://www.zib.de/Visual/software/doc++/index.html}
-
-@example
-
- /*
- C style comments for multiline comments.
- They come before the thing to document.
- [...]
- */
-
- /**
- short description.
- Long class documentation.
- (Hungarian postfix)
-
- TODO Fix boring_member ()
- */
- class Class @{
- /**
- short description.
- long description
- */
-
- Data data_member_;
-
- /**
- short memo. long doco of member ()
- @@param description of arguments
- @@return Rettype
- */
- Rettype member (Argtype);
-
- /// memo only
- boring_member () @{
- data_member_ = 121; // ugh
- @}
- @};
-
-@end example
-
-
-Unfortunately most of the code isn't really documented that good.
-
-@unnumberedsubsec Members (2)
-
-Standard methods:
-
-@example
-
- ///check that *this satisfies its invariants, abort if not.
- void OK () const
-
- /// print *this (and substructures) to debugging log
- void print () const
-
- /**
- protected member. Usually invoked by non-virtual XXXX ()
- */
- virtual do_XXXX ()
-
- /**add some data to *this.
- Presence of these methods usually imply that it is not feasible to this
- via a constructor
- */
- add (..)
-
- /// replace some data of *this
- set (..)
-
-@end example
-
-@unnumberedsubsec Constructor
-
-Every class should have a default constructor.
-
-Don't use non-default constructors if this can be avoided:
-
-@example
-
- Foo f(1)
-
-@end example
-
-is less readable than
-
-@example
-
- Foo f;
- f.x = 1
-
-@end example
-
-or
-
-@example
-
- Foo f(Foo_convert::int_to_foo (1))
-
-@end example
-
-@unnumberedsec Hungarian notation naming convention
-
-Proposed is a naming convention derived from the so-called
-@emph{Hungarian Notation}. Macros, @code{enum}s and @code{const}s are all
-uppercase, with the parts of the names separated by underscores.
-
-The hungarian notation is to be used when variables are not declared
-near usage (mostly in member variables and functions).
-
-@unnumberedsubsec Types
-
-@table @samp
-@item @code{byte}
- unsigned char. (The postfix _by is ambiguous)
-@item @code{b}
- bool
-@item @code{bi}
- bit
-@item @code{ch}
- char
-@item @code{f}
- float
-@item @code{i}
- signed integer
-@item @code{str}
- string class
-@item @code{sz}
- Zero terminated c string
-@item @code{u}
- unsigned integer
-@end table
-
-@unnumberedsubsec User defined types
-
-@example
-
- /** Slur blah. blah.
- (slur)
- */
- class Slur @{@};
- Slur* slur_p = new Slur;
-
-@end example
-
-@unnumberedsubsec Modifiers
-
-The following types modify the meaning of the prefix.
-These are preceded by the prefixes:
-
-@table @samp
-@item @code{a}
- array
-@item @code{array}
- user built array.
-@item @code{c}
- const. Note that the proper order is @code{Type const}
- i.s.o. @code{const Type}
-@item @code{C}
- A const pointer. This would be equivalent to @code{_c_l}, but since any
- "const" pointer has to be a link (you can't delete a const pointer),
- it is superfluous.
-@item @code{l}
- temporary pointer to object (link)
-@item @code{p}
- pointer to newed object
-@item @code{r}
- reference
-@end table
-
-@unnumberedsubsec Adjective
-
-Adjectives such as global and static should be spelled out in full.
-They come before the noun that they refer to, just as in normal english.
-
-@example
-
-foo_global_i: a global variable of type int commonly called "foo".
-
-@end example
-
-static class members do not need the static_ prefix in the name (the
-Class::var notation usually makes it clear that it is static)
-
-@table @samp
-@item @code{loop_i}
- Variable loop: an integer
-@item @code{u}
- Temporary variable: an unsigned integer
-@item @code{test_ch}
- Variable test: a character
-@item @code{first_name_str}
- Variable first_name: a String class object
-@item @code{last_name_ch_a}
- Variable last_name: a @code{char} array
-@item @code{foo_i_p}
- Variable foo: an @code{Int*} that you must delete
-@item @code{bar_i_l}
- Variable bar: an @code{Int*} that you must not delete
-@end table
-
-Generally default arguments are taboo, except for nil pointers.
-
-The naming convention can be quite conveniently memorised, by
-expressing the type in english, and abbreviating it
-
-@example
-
- static Array<int*> foo
-
-@end example
-
-@code{foo} can be described as "the static int-pointer user-array", so you get
-
-@example
-
- foo_static_l_arr
-
-@end example
-
-
-@unnumberedsec Miscellaneous
-
-For some tasks, some scripts are supplied, notably creating patches, a
-mirror of the website, generating the header to put over cc and hh
-files, doing a release.
-
-Use them.
-
-@node Making patches, , , Top
-
-
-@unnumberedsec name
-
-
-PATCHES - track and distribute your code changes
-
-This page documents how to distribute your changes to GNU lilypond
-
-We would like to have unified context diffs with full pathnames. A
-script automating supplied with Lily.
-
-Distributing a change normally goes like this:
-
-@itemize @bullet
-@item make your fix/add your code
-@item Add changes to CHANGES, and add yourself to Documentation/topdocs/AUTHORS.texi
-@item generate a patch,
-@item e-mail your patch to one of the mailing lists
- gnu-music-discuss@@gnu.org or bug-gnu-music@@gnu.org
-@end itemize
-
-Please do not send entire files, even if the patch is bigger than the
-original. A patch makes it clear what is changed, and it won't
-overwrite previous (not yet released) changes.
-
-@unnumberedsec Generating a patch
-
-Simple version: run
-
-@example
- make -C lilypond-x.y.z/ distclean
- make -C lilypond-x.y.z.NEW/ distclean
- diff -urN lilypond-x.y.z/ lilypond-x.y.z.NEW/
-@end example
-
-Complicated (but automated) version:
-
-In @file{VERSION}, set MY_PATCH_LEVEL:
-
-@example
-
- VERSION:
- ...
- MY_PATCH_LEVEL=jcn1
-
-@end example
-
-In @file{CHANGES}, enter a summary of changes:
-
-@example
- pl 0.1.73.jcn1
- - added PATCHES.texi
-@end example
-
-Then, from the top of Lily's source tree, type
-
-@example
- make release
-@end example
-
-These handy python scripts assume a directory structure which looks
-like:
-
-@example
-
- lilypond -> lilypond-x.y.z # symlink to development directory
- lilypond-x.y.z/ # current development
- patches/ # patches between different releases
- releases/ # .tar.gz releases
-
-@end example
-
-(Some scripts also assume this lives in @file{$HOME/usr/src}).
-
-
-@unnumberedsec Applying patches
-
-
-If you're following LilyPond development regularly, you probably want to
-download just the patch for each subsequent release.
-After downloading the patch (into the patches directory, of course), simply
-apply it:
-
-@example
-
- gzip -dc ../patches/lilypond-0.1.74.diff.gz | patch -p1 -E
-
-@end example
-
-and don't forget to make automatically generated files:
-
-@example
-
- autoconf footnote(patches don't include automatically generated files,
- i.e. file(configure) and files generated by file(configure).)
-
- configure
-
-@end example
-
-
-@bye
-
-
+++ /dev/null
-%-*-LaTeX-*-
-
-\documentclass{article}
-\usepackage{a4}
-\def\postMudelaExample{\setlength{\parindent}{1em}}
-\title{LilyPond, a Music Typesetter}
-\author{HWN}
-\usepackage{musicnotes}
-\usepackage{graphics}
-
-
-\begin{document}
-\maketitle
-
-[THIS IS WORK IN PROGRESS. THIS IS NOT FINISHED]
-
-% -*-LaTeX-*-
-\section{Introduction}
-
-The Internet has become a popular medium for collaborative work on
-information. Its success is partly due to its use of simple, text-based
-formats. Examples of these formats are HTML and \LaTeX. Anyone can
-produce or modify such files using nothing but a text editor, they are
-easily processed with run-of-the-mill text tools, and they can be
-integrated into other text-based formats.
-
-Software for processing this information and presenting these formats
-in an elegant form is available freely (Netscape, \LaTeX, etc.).
-Ubiquitousness of the software and simplicity of the formats have
-revolutionised the way people publish text-based information
-nowadays.
-
-In the field of performed music, where the presentation takes the form
-of sheet music, such a revolution has not started yet. Let us review
-some alternatives that have been available for transmitting sheet
-music until now:
-\begin{itemize}
-\item MIDI\cite{midi}. This format was designed for interchanging performances
- of music; one should think of it as a glorified tape recorder
- format. It needs dedicated editors, since it is binary. It does
- not provide enough information for producing musical scores: some of
- the abstract musical content of what is performed is thrown away.
-
-\item PostScript\cite{Postscript}. This format is a printer control
- language. Printed musical scores can be transmitted in PostScript,
- but once a score is converted to PostScript, it is virtually
- impossible to modify the score in a meaningful way.
-
-\item Formats for various notation programs. Notation programs either
- work with binary formats (e.g., NIFF\cite{niff-web}), need specific
- platforms (e.g., Sibelius\cite{sibelius}), are proprietary or
- non-portable tools themselves (idem), produce inadequate output
- (e.g., MUP\cite{mup}), are based on graphical content (e.g.,
- MusixTeX\cite{musixtex1}), limit themselves to specific subdomains
- (e.g., ABC\cite{abc2mtex}), or require considerable skill and
- knowledge to use (e.g., SCORE\cite{score})
-
-\item SMDL\cite{smdl-web}. This is a very rich ASCII format, that is
- designed for storing many types of music. Unfortunately, there is
- no implementation of a program to print music from SMDL available.
- Moreover, SMDL is so verbose, that it is not suitable for human
- production.
-
-\item TAB\cite{tablature-web}. Tab (short for tablature) is a popular
- format, for interchanging music over e-mail, but it can only be used
- for guitar music.
-\end{itemize}
-
-In summary, sheet music is not published and edited on a wide scale
-across the internet because no format for music
-interchange exists that is:
-\begin{itemize}
-\item open, i.e., with publically available specifications.
-\item based on ASCII, and therefore suitable for human consumption and
- production.
-\item rich enough for producing publication quality sheet music from
- it.
-\item based on musical content (unlike, for example, PostScript), and
- therefore suitable for making modifications.
-\item accompanied by tools for processing it that are freely available
- across multiple platforms.
-\end{itemize}
-
-
-With the creation of LilyPond, we have tried to create both a
-convenient format for storing sheet music, and a portable,
-high-quality implementation of a compiler, that compiles the input
-into a printable score. You can find a small example of LilyPond
-input along with output in Figure~\ref{fig:intro-fig}.
-%
-\begin{figure}[htbp]
- \begin{center}
-\begin[verbatim]{mudela}
- \score {
- \notes
- \context GrandStaff <
- \transpose c'' { c4 c4 g4 g4 a4 a4 g2 }
- { \clef "bass"; c4 c'4
- \context Staff <e'2 {\stemdown c'4 c'4}> f'4 c'4 e'4 c'4 }
- >
- \paper {
- linewidth = -1.0\cm ;
- }
- }
-\end{mudela}
- \caption{A small example of LilyPond input}
- \label{fig:intro-fig}
- \end{center}
-\end{figure}
-%
-
-
-The input language encodes musical events (such as notes and rests) on
-the basis of their time-ordering. For example, the grammar includes
-constructs that specify that notes start simultaneous and that notes
-are to be played in sequence. In this encoding some context that is
-present in sheet music is lost.
-
-The compiler reconstructs the notation from the encoded music. Its
-operation comprises four different steps (see
-Figure~\ref{fig:intro-steps}).
-
-\begin{description}
-\item[Parsing] During parsing, the input is converted in a syntax tree.
-
-\item[Interpreting] In the \emph{interpreting} step, it is determined
- which symbols have to be printed. Objects that correspond to
- notation (\emph{Graphical objects}) are created from the syntax tree
- in this phase. Generally speaking, for every symbol printed there is
- one graphical object. These objects are incomplete: their position
- and their final shape is unknown.
-
- The context that was lost by encoding the input in a language is
- reconstructed during this conversion.
-\item[Formatting] The next step is determing where symbols are to be
- placed, this is called \emph{formatting}.
-\item[Outputting]
- Finally, all Graphical objects are outputted as PostScript or \TeX\ code.
-\end{description}
-
-\def\staffsym{\vbox to 16pt{
- \hbox{\vrule width 1cm depth .2pt height .2pt}\nointerlineskip
- \vfil
- \hbox{\vrule width 1cm depth .2pt height .2pt}\nointerlineskip
- \vfil
- \hbox{\vrule width 1cm depth .2pt height .2pt}\nointerlineskip
- \vfil
- \hbox{\vrule width 1cm depth .2pt height .2pt}\nointerlineskip
- \vfil
- \hbox{\vrule width 1cm depth .2pt height .2pt}\nointerlineskip
-}}
-
-\def\vspacer{\vbox to 20pt{\vss}}
-\begin{figure}[h]
-\def\spacedhbox#1{\hbox{\ #1\ }}
-\begin{eqnarray*}
- {\spacedhbox{Input}\atop \hbox{\texttt{\{c8 c8\}}}} {\spacedhbox{Parsing}\atop\longrightarrow}
- {\spacedhbox{Syntax tree}\atop\spacedhbox{\textsf{Sequential(Note,Note)}}}
- {\spacedhbox{Interpreting}\atop\longrightarrow}\\
- \vspacer\\
- {\spacedhbox{Graphic objects}\atop\spacedhbox{\texttrebleclef \textquarterhead\texteighthflag\textquarterhead\texteighthflag \staffsym }}
- {\spacedhbox{Formatting}\atop\longrightarrow}
- {\spacedhbox{Formatted objects}\atop\hbox{
- \mudela{c''8 c''8}
- }}\\
-\vspacer\\
- {\spacedhbox{Outputting}\atop\longrightarrow}
- {\spacedhbox{PostScript code}\atop\hbox{\texttt{\%!PS-Adobe}\ldots}}
-\end{eqnarray*}
- \caption{Parsing, Interpreting, Formatting and Outputting}
- \label{fig:intro-steps}
-\end{figure}
-
-
-The second step, the interpretation phase of the compiler, can be
-manipulated as a separate entity: the interpretation process is
-composed of many separate modules, and the behaviour of the modules is
-parameterised. By recombining these interpretation modules,
-and changing parameter settings, the same piece of music can be
-printed differently, as is shown in Figure~\ref{fig:intro-interpret}.
-
-This makes it easy to extend the program. Moreover, this enables the
-same music to be printed in different versions, e.g., in a conductors
-score and in extracted parts.
-
-
-\begin{figure}[h]
- \begin{center}
- \begin{mudela}
- \score {
- \notes
- \context GrandStaff <
- \transpose c'' { c4 c4 g4 g4 a4 a4 g2 }
- { \clef "bass"; c4 c'4
- \context Staff <e'2 {\stemdown c'4 c'4}> f'4 c'4 e'4 c'4 }
- >
- \paper {
- linewidth = -1.0\cm ;
- \translator {
- \VoiceContext
- \remove "Stem_engraver";
- }
- \translator {
- \StaffContext
- numberOfStaffLines = 3;
- }
- }
- }
- \end{mudela}
- \caption{The interpretation phase can be manipulated: the same
- music as in Figure~\ref{fig:intro-fig} is interpreted
- differently: three staff lines and no stems.}
- \label{fig:intro-interpret}
- \end{center}
-\end{figure}
-
-
-
-\section{Preliminaries}
-
-To understand the rest of the article, it is necessary to know
-something about music notation and music typography. Since both
-communicate music, we will explain some characteristics of instruments
-and western music that motivate some notational constructs.
-
-\subsection{Music}
-
-Music notation is meant to be read by human performers. They sing or
-play instruments that can produce sounds of different pitches. These
-sounds are called \emph{notes}. Additionally, the sounds can be
-articulated in differents ways, e.g., staccato (short and separated)
-or legato (fluently bound together). The loudness of the notes can
-also be varied. Changes in loudness are called \emph{dynamics}.
-
-Silence is also an element of music. The musical terminology for
-silence within music is \emph{rest}.
-
-The basic unit of pitch is the \emph{octave}. The octave corresponds
-to a frequency ratio of 1:2. For example the pitch denoted by a'
-(frequency: 440 hertz) is one octave lower than a'' (frequency: 880
-hertz). Various instruments have a limited \emph{pitch range}, for
-example, a trumpet has a range of about 2.5 octaves. Not all
-instruments have ranges in the same register: a tuba also has a range
-of 2.5 octaves, but the range of the tuba is much lower.
-
-Musicology has a confusing mix of relative and absolute measures for
-pitches: the term `octave' refers to both a difference between two
-pitches (the frequency ratio of 1:2), and to a range of pitches. For
-example, the term `[eengestreept] octave' refers to the pitch range
-between 261.6 Hz and 523.3 Hz.
-
-
-The octave is divided into smaller pitch steps. In modern western
-music, every octave is divided into twelve approximately equidistant
-pitch steps, and each step is called a \emph{semitone}. Usually, the
-pitches in a musical piece come from a smaller subset of these twelve
-possible pitches. This smaller subset along with the musical
-functions fo the pitches is called the
-\emph{tonality}\footnote{Tonality also refers to the relations between
- and functions of certain pitches. Since these do not have any
- impact on notation, we ignore this} of the piece.
-
-
-The standard tonality that forms the basis of music notation
-(the key of C major) is a set of seven pitches within every octave.
-Each of these seven is denoted by a name. In English, these are names
-are (in rising pitch) denoted by c, d, e, f, g, a and b. Pitches that
-are a semitone higher or lower than one of these seven can be
-represented by suffixing the name with `sharp' or `flat'
-respectively (this is called an \emph{chromatic alteration}).
-
-A pitch therefore can be fully specified by a combination of the
-octave number, the note name and a chromatic alteration.
-Figure~\ref{fig:intro-pitches} shows the relation between names and
-frequencies.
-
-
-
-
-\begin{figure}[h]
- \begin{center}
- [te doen]
- \end{center}
- \caption{Pitches in western music. The octave number is denoted
- by a superscript.}
- \label{fig:intro-pitches}
-\end{figure}
-
-
-Many instruments can produce more than one note at the same time, e.g.
-pianos and guitars. When more notes are played simultaneously, they
-form a so-called \emph{chord}.
-
-The unit of duration is the \emph{beat}. When playing, the tempo is
-determined by setting the number of beats per minute. In western
-music, beats are often stressed in a regular pattern: for example
-Waltzes have a stress pattern that is strong-weak-weak, i.e. every
-note that starts on a `strong' beat is louder and has more pronounced
-articulation. This stress pattern is called \emph{meter}.
-
-\subsection{Music notation}
-
-Music notation is a system that tries to represent musical ideas
-through printed symbols. Music notation has no precise definition,
-but most conventions have described in reference manuals on music
-notation\cite{read-notation}.
-
-In music notation, sounds and silences are represented by symbols that
-are called note and rest respectively.\footnote{These names serve a
- double purpose: the same terms are used to denote the musical
- concepts.} The shape of notes and rests indicates their duration
-(See figure~\ref{noteshapes}) relative to the whole note.
-
-
-\begin{figure}[h]
- \begin{center}
-\begin{mudela}
- \score {
- \notes \transpose c''{ c\longa*1/4 c\breve*1/2 c1 c2 c4 c8 c16 c32 c64 }
- \paper {
- \translator {
- \StaffContext
- \remove "Staff_symbol_engraver";
- \remove "Time_signature_engraver";
-% \remove "Bar_engraver";
- \remove "Clef_engraver";
- }
-linewidth = -1.;
- }
-}
-\end{mudela}
-\begin{mudela}
- \score {
- \notes \transpose c''\context Staff { r\longa*1/4 r\breve*1/2 r1 r2 r4 r8 r16 r32 r64 }
- \paper {
- \translator {
- \StaffContext
- \remove "Staff_symbol_engraver";
- \remove "Time_signature_engraver";
-% \remove "Bar_engraver";
- \remove "Clef_engraver";
- }
- linewidth = -1.;
- }
-}
-\end{mudela}
- \caption{Note and rest shapes encode the length. At the top notes
- are shown, at the bottom rests. From left to right a quadruple
- note (\emph{longa}), double (\emph{breve}), whole, half,
- quarter, eigth, sixteenth, thirtysecond and sixtyfourth. Each
- note has half of the duration of its predecessor.}
- \label{fig:noteshapes}
-\end{center}
-\end{figure}
-
-
-Notes are printed in a grid of horizontal lines called \emph{staff} to
-denote their pitch: each line represents the pitch of from the
-standard scale (c, d, e, f, g, a, b). The reference point is the
-\emph{clef}, eg., the treble clef marks the location of the $g^1$
-pitch. The notes are printed in their time order, from left to right.
-
-
-\begin{figure}[h]
- \begin{center}
- \begin{mudela}
- \score { \notes {
- a4 b c d e f g a \clef bass;
- a4 b c d e f g a \clef alto;
- a4 b c d e f g a \clef treble;
- }
- \paper { linewidth = 15.\cm; }
- }
- \end{mudela}
- \caption{Pitches ranging from $a, b, c',\ldots a'$, in different
- clefs. From left right the bass, alto and treble clef are
- featured.}
- \label{fig:pitches}
- \end{center}
-\end{figure}
-
-The chromatic alterations are indicated by printing a flat sign or a
-sharp sign in front of the note head. If these chromatic alterations
-occur systematically (if they are part of the tonality of the piece),
-then this indicated with a \emph{key signature}. This is a list of
-sharp/flat signs which is printed next to the clef.
-
-Articulation is notated by marking the note shapes wedges, hats and
-dots all indicate specific articulations. If the notes are to be
-bound fluently (legato), the note shapes are encompassed by a smooth
-curve called \emph{slur},
-
-\begin{figure}[h]
- \begin{center}
- \begin{mudela}
- c'4-> c'4-. g'4 ( b'4 ) g''4
- \end{mudela}
- \caption{Some articulations. From left to right: extra stress
- (\emph{marcato}), short (staccato), slurred notes (legato).}
- \label{fig:articulation}
- \end{center}
-\end{figure}
-
-
-
-Dynamics are notated in two ways: absolute dynamics are indicated by
-letters: \textbf{f} (from Italian ``forte'') stands for loud,
-\textbf{p} (from Italian ``piano'') means soft. Gradual changes in
-loudness are notated by (de)crescendos. These are hairpin like shapes
-below the staff.
-
-\begin{figure}[h]
- \begin{center}
- \begin{mudela}
- g'4\pp \< g'4 \! g'4 \ff \> g'4 g' \! g'\ppp
- \end{mudela}
- \caption{Dynamics: start very soft (pp), grow to loud (ff) and
- decrease to extremely soft (ppp)}
- \label{fig:dynamics}
- \end{center}
-\end{figure}
-
-
-The meter is indicated by barlines: every start of the stress pattern
-is preceded by a vertical line, the \emph{bar line}. The space
-between two bar lines is called measure. It is therefore the unit of
-the rhythmic pattern.
-
-The time signature also indicates what kind of rhythmic pattern is
-desired. The time signature takes the form of two numbers stacked
-vertically. The top number is the number of beats in one measure, the
-bottom number is the duration (relative to the whole note) of the note
-that takes one beat. Example: 2/4 time signature means ``two beats
-per measure, and a quarter note takes one beat''
-
-Chords are written by attaching multiple note heads to one stem. When
-the composer wants to emphasize the horizontal relationships between
-notes, the simultaneous notes can be written as voices (where every
-note head has its own stem). A small example is given in
-Figure~\ref{fig:simultaneous}.
-
-\begin{figure}[h]
- \begin{center}
- \begin{mudela}
- \relative c'' {\time 2/4; <c4 e> <d f>
- \context Staff < \context Voice = VA{
- \stemdown
- c4 d
- b16 b b b b b b b }
- \context Voice = VB {
- \stemup e4 f g8 g4 g8 } >
- }
- \end{mudela}
- \caption{Notes sounding together. Chord notation (left, before
- the bar line) emphasizes vertical relations, voice notation
- emphasizes horizontal relations. Separate voices needn't have
- synchronous rhythms (third measure).
- }
- \label{fig:simultaneous}
- \end{center}
-\end{figure}
-
-Separate voices do not have to share one rhythmic pattern---this is
-also demonstrated in Figure~\ref{fig:simultaneous}--- they are in a sense%vaag
-independent. A different way to express this in notation, is by
-printing each voice on a different staff. This is customary when
-writing for piano (both left and right hand have a staff of their own)
-and for ensemble (every instrument has a staff of its own).
-
-
-
-\subsection{Music typography}
-
-Music typography is the art of placing symbols in esthetically
-pleasing configuration. Little is explicitly known about music
-typography. There are only a few reference works
-available\cite{ross,wanske}. Most of the knowledge of this art has
-been transmitted verbally, and was subsequently lost.
-
-The motivation behind choices in typography is to represent the idea
-as clearly as possible. Among others, this results in the following
-guidelines:
-\begin{itemize}
-\item The printed score should use visual hints to accentuate the
- musical content
-\item The printed score should not contain distracting elements, such
- as large empty regions or blotted regions.
-\end{itemize}
-
-An example of the first guideline in action is the horizontal spacing.
-The amount of space following a note should reflect the duration of
-that note: short notes get a small amount of space, long notes larger
-amounts. Such spacing constraints can be subtle, for the
-``amount of space'' is only the impression that should be conveyed; there
-has to be some correction for optical illusions. See
-Figure~\ref{fig:spacing}.
-
-\begin{figure}[h]
- \begin{center}
- \begin{mudela}
- \relative c'' { \time 3/4; c16 c c c c8 c8 | f4 f, f' }
- \end{mudela}
- \caption{Spacing conveys information about duration. Sixteenth
- notes at the left get less space than quarter notes in the
- middle. Spacing is ``visual'', there should be more space
- after the first note of the last measure, and less after second. }
- \label{fig:spacing}
- \end{center}
-\end{figure}
-
-Another example of music typography is clearly visible in collisions.
-When chords or separate voices are printed, the notes that start at
-the same time should be printed aligned (ie., with the same $x$
-position). If the pitches are close to each other, the note heads
-would collide. To prevent this, some notes (or note heads) have to be
-shifted horizontally. An example of this is given in
-Figure~\ref{fig:collision}.
-\begin{figure}[h]
- \begin{center}
- [todo]
- \caption{Collisions}
- \label{fig:collision}
- \end{center}
-\end{figure}
-
-\bibliographystyle{hw-plain}
-\bibliography{engraving,boeken,colorado,computer-notation,other-packages}
-
-\section{Requirements}
-
-
-\section{Approach}
-
-\subsection{Input}
-
-The input format consists of combining a symbolic representation of
-music with style sheet that describes how the symbolic presentation
-can converted to notation. The symbolic representation is based on a
-context free language called \textsf{music}. Music is a recursively
-defined construction in the input language. It can be constructed by
-combining lists of \textsf{music} sequentially or parallel or from
-terminals like notes or lyrics.
-
-The grammar for \textsf{music} is listed below. It has been edited to
-leave out the syntactic and ergonomic details.
-
-\begin{center}
- \begin{tabular}{ll}
-Music: & SimpleMusic\\
- & $|$ REPEATED int Music ALTERNATIVE MusicList\\
- & $|$ SIMULTANEOUS MusicList\\
- & $|$ SEQUENTIAL MusicList\\
- & $|$ CONTEXT STRING '=' STRING Music\\
- & $|$ TIMES int int Music \\
- & $|$ TRANSPOSE PITCH Music \\
-SimpleMusic: & $|$ Note\\
- & $|$ Lyric\\
- & $|$ Rest\\
- & $|$ Chord\\
- & $|$ Command\\
-Command: & METERCHANGE\\
- & $|$ CLEFCHANGE\\
- &$|$ PROPERTY STRING '=' STRING\\
-Chord: &PitchList DURATION\\
-Rest: &REST DURATION\\
-Lyric: &STRING DURATION\\
-Note: &PITCH DURATION\\
-\end{tabular}
-\end{center}
-
-The terminals are both purely musical concepts that have a duration,
-and take a non-zero amount of musical time, like notes and lyrics, and
-commands that behave as if they have no duration.\footnote{The
- PROPERTY command is a generic mechanism for controlling the
- interpretation, i.e. the musical style sheets. See [forward ref]}
-
-The nonterminal productions can
-\begin{itemize}
-\item Some productions combine multiple elements: one can specify that
- element are to be played in sequence, simultaneously or repetitively.
-\item There are productions for transposing music, and for dilating
- durations of music: the TIMES production can be used to encode a
- triplet.\footnote{A triplet is a group of three notes marked by a
- bracket, that are played 3/2 times faster.}
-\item
- There are productions that give directions to the interpretation
- engine (the CONTEXT production)
-\end{itemize}
-
-
-\section{Context in notation}
-
-Music notation relies heavily on context. Notational symbols do not
-have meaning if they are not surrounded by other context elements. In
-this section we give some examples how the reader uses this context do
-derive meaning of a piece of notation. We will focus on the prime
-example of context: the staff.
-
-A staff is the grid of five horizontal lines, but it contains more components :
-\begin{itemize}
-\item A staff can have a key signature (printed at the left)
-\item A staff can have a time signature (printed at the left)
-\item A staff has bar lines
-\item A staff has a clef (printed at the left)
-\end{itemize}
-
-It is still possible to print notes without these components, but one
-cannot determine the meaning of the notes.
-\begin{mudela}
-\score{
-\notes \relative c' { \time 2/4; g'4 c,4 a'4 f4 e c d2 }
-\paper {
- linewidth = -1.;
- \translator {
- \StaffContext
- \remove "Time_signature_engraver";
-% \remove "Bar_engraver";
- \remove "Staff_symbol_engraver";
- \remove "Clef_engraver";
- \remove "Key_engraver";
- }
- }
-}
-\end{mudela}
-
-As you can see, you can still make out the general form of the melody
-and the rhythm that is to be played, but the notation is difficult to
-read and the musical information is not complete. The stress
-pattern in the notes can't be deduced from this output. For this, we
-need a time signature. Adding barlines helps with finding the strong
-and weak beats.
-\begin{mudela}
-\score {
- \notes \relative c' { \time 2/4; g'4 c,4 a'4 f4 e c d2 }
- \paper{
- linewidth = -1.;
-\translator{
- \StaffContext
- \remove "Staff_symbol_engraver";
- \remove "Clef_engraver";
- \remove "Key_engraver";}
- }
- }
-\end{mudela}
-
-It is impossible to deduce the exact pitch of the notes. One needs a
-clef to do so. Staff lines help the eye in determining the vertical
-position of a note wrt. to the clef.
-\begin{mudela}
-\score {
- \notes \relative c' {\clef alto; \time 2/4; g'4 c,4 a'4 f4 e c d2 }
- \paper {
- linewidth = -1.;
- }
-}
-\end{mudela}
-
-Now you know the pitch of the notes: you look at the start of the line
-and see a clef, and with this clef, you can determine the notated pitches.
-You have found the em(context) in which the notation is to be
-interpreted!
-
-
-\section{Interpretation context}
-
-Context (clef, time signature etc.) determines the relationship
-between musical and its notation in notes. Because LilyPond writes
-notation, context works the other way around for LilyPond: with
-context a piece of music can be converted to notation.
-
-A reader remembers this context while reading the notation from left
-to right. By analogy, LilyPond constructs this context while
-constructing notes from left to right. This is what happens in the
-``Interpretation'' phase from~\ref{fig:intro-fig}. In LilyPond, the
-state of this context is a set of variables with their values; A staff
-context contains variables like
-
-\begin{itemize}
-\item current clef
-\item current time signature
-\item current key
-\end{itemize}
-
-These variables determine when and how clefs, time signatures, bar
-lines and accidentals are printed.
-
-
-Staff is not the only form of context in notation. In polyphonic
-music, the stem direction shows which notes form a voice: all notes of
-the same voice have stems pointing in the same direction. The value
-of this variable determines the appearance of the printed stems.
-
-In LilyPond ``Notation context'' is abstracted to a data structure
-that is used, constructed and modified during the interpretation
-phase. It contains context properties, and is responsible for
-creating notational elements: the staff context creates symbols for
-clefs, time signatures and key signatures. The Voice context creates
-stems, note heads.
-
-For the fragment of polyphonic music below,
-\begin{mudela}
- \context Staff { c'4 < { \stemup c'4 } \context Voice = VB { \stemdown a4 } > }
-\end{mudela}
-A staff context is created. Within this staff context (which printed
-the clef), a Voice context is created, which prints the first note.
-Then, a second Voice context is created, with stem direction set to
-``up'', and the direction for the other is set to down. Both Voice
-contexts are still part of the same Staff context.
-
-In the same way, multiple staff scores are created: within the score
-context, multiple staff contexts are created. Every staff context
-creates the notation associated with a staff.
-
-\section{Discussion}
-
-
-
-\end{document}
-
-The complexity of music notation was tackled by adopting a modular
-design: both the formatting system (which encodes the esthetic rules of
-notation), and the interpretation system (which encodes the semantic
-rules) are highly modular.
-
-
-The difficulty in creating a format for music notation is rooted in
-the fact that music is multi dimensional: each sound has its own
-duration, pitch, loudness and articulation. Additionally, multiple
-sounds may be played simultaneously. Because of this, there is no
-obvious way to ``flatten'' music into a context-free language.
-
-The difficulty in creating a printing engine is rooted in the fact
-that music notation complicated: it is very large graphical
-``language'' with many arbitrary esthetic and semantic conventions.
-Building a system that formats full fledged musical notation is a
-challenge in itself, regardless of whether it is part of a compiler or
-an editor.
-
-The fact that music and its notation are of a different nature,
-implies that the conversion between input notation is non-trivial.
-
-In LilyPond we solved the above problem in the following way:
-
+++ /dev/null
-
-\input lilyponddefs
-
-\def\fetdef#1#2{%
- \def#1{\hbox{\char#2}}}
-
-% huh? from where
-\input feta20.sty
-
-\font\fetasixteenfont=feta16
-\font\fetaelevenfont=feta11
-\def\fetafont{\fetasixteenfont}
-
-\newdimen\ild
-\ild=4pt
-\newdimen\stemthick
-\stemthick=0.4pt
-
-\def\eighthstem{{\fetafont\vrule height 3.5ex width \stemthick depth0pt\raise
- 3.5ex\hbox{\eighthflag}}}
-\def\texteighthflag{{\fetafont\raise 0ex\hbox{\fetafont\eighthflag}}}
-\def\textdeighthflag{{\fetafont\raise 0ex\hbox{\deighthflag}}}
-
-\def\texteighthnote{{\hbox{\hbox{\fetafont\quartball}\kern
- -0.5\stemthick\eighthstem}}}
-\def\quarterstem{{\fetafont\vrule height 3.5ex width \stemthick depth0pt}}
-\def\textquarterstem{\quarterstem}
-\def\textchord{{\hbox{\fetafont\lower.5ex\hbox to
- 0pt{\textquarterhead}\raise.5ex\hbox{\textquarterhead}\kern
- -0.5\stemthick\eighthstem}}}
-\def\textbassclef{\hbox{\fetafont\bassclef}}
-\def\texttrebleclef{\hbox{\fetafont\trebleclef}}
-\def\textslur{\embeddedps{9.378744 -3.171539 3.923099 -3.171539 0.000000 0.000000 12.800000 0.000000 3.672177 -3.672177 9.127823 -3.672177 12.800000 0.000000 0.000000 0.000000 draw_slur}}
-
-\def\textmarcato{{\fetafont\raise 1ex\hbox{\hskip 1ex\sforzatoaccent}}}
-
-
-\def\textquarterhead{\hbox{\fetafont\raise 2.5pt\hbox{\quartball}}}
-\def\texteighthstem{\hbox{\lower 5pt\hbox{\eighthstem}}}
-\def\texthalfnote{{\hbox{\hbox{\fetafont\halfball}\kern -0.5\stemthick\quarterstem}}}
-\def\textquarternote{{\hbox{\hbox{\fetafont\quartball}\kern -0.5\stemthick\quarterstem}}}
-\def\textflat{{\fetafont\raise 1ex\hbox{\flat}}}
-\def\textsharp{{\fetafont\raise1ex\hbox{\sharp}}}
+++ /dev/null
-\input texinfo @c -*-texinfo-*- vim:tw=72
-@setfilename regression-test.info
-@settitle LilyPond Regression test
-
-@c fool ls-latex
-@ignore
-@author Han-Wen Nienhuys and Jan Nieuwenhuizen
-@title LilyPond Regression test
-@end ignore
-
-@node Top, , ,
-
-@section Introduction
-
-This document tries give an brief overview of LilyPond features. When
-the text correspond with the shown notation, we consider LilyPond
-Officially BugFree (tm). This document is intended for finding bugs,
-and documenting bugfixes.
-
-@section Notes and rests
-
-Rests. Note that the dot of 8th, 16th and 32nd rests rest should be
-next to the top of the rest. All rests except the whole rest are
-centered on the middle staff line.
-
-@mudelafile{rest.fly}
-
-Note head shapes are settable. The stem endings should be adjusted
-per note head. If you want different note head styles on one stem,
-you must create a special context called Thread.
-
-@mudelafile{noteheadstyle.ly}
-
-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 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}
-
-Multiple measure rests do not collide with barlines and clefs. They
-are not expanded when you set @code{Score.SkipBars}. Although the
-multi-measure-rest is a Spanner, minimum distances are set to keep it
-colliding from barlines.
-
-@mudelafile{multi-measure-rest.ly}
-
-@section Stems
-
-Stem tremolos (official naming?) or rolls are tremolo signs that look
-like beam segments crossing stems. If the stem is in a beam, the
-tremolo must be parallel to the beam. If the stem is invisible
-(eg. on a whole note), the tremolo must be centered on the note.
-
-@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.
-
-Stems, beams, ties and slurs should behave similarly, when placed
-on the middle staff line. Of course stem-direction is down for high
-notes, and up for low notes.
-
-@mudelafile{stem-direction.sly}
-
-Similarly, if @code{stem_default_neutral_direction} is set to @code{-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
-have beams, notes, chords, stems etc. within a @code{\grace} section.
-Slurs that start within a grace section, but aren't ended are attached
-to the next normal note. Grace notes have zero duration. If there
-are tuplets, the grace notes won't be under the brace. Grace notes
-can have accidentals, but they are (currently) spaced at a fixed
-distance. Grace notes (of course) come before the accidentals of the
-main note. Grace notes can also be positioned after the main note.
-
-@mudelafile{grace.ly}
-
-
-@section Beams, slurs and other spanners
-
-Beaming is generated automatically. Beams may cross bar lines. In that
-case, line breaks are forbidden. Yet clef and key signatures are
-hidden just as with breakable bar lines.
-
-@mudelafile{beaming.ly}
-
-Beams should behave reasonably well, even under extreme circumstances.
-Stems may be short, but noteheads should never touch the beam.
-
-@mudelafile{beam-extreme.ly}
-
-Beams should always reach the middle staff line, the second beam
-counting from the note head side, should never be lower than the
-second staff line. This does not hold for grace note beams.
-
-@mudelafile{beam-position.sly}
-
-Slurs should look nice and symmetric. The curvature may increase
-only to avoid noteheads, and as little as possible.
-
-@mudelafile{slur-symmetry.ly}
-@mudelafile{slur-symmetry-1.ly}
-
-Ties are strictly horizontal. They are placed in between note heads.
-The horizontal middle should not overlap with a staffline.
-
-@mudelafile{tie.ly}
-
-Beams can be typeset over fixed distance aligned staffs, beam
-beautification doesn't really work, but knees do. Beams should be
-behave well, wherever the switching point is.
-
-@mudelafile{beam-interstaff.ly}
-
-The same goes for slurs. They behave decently when broken across
-linebreak.
-
-@mudelafile{slur-interstaff.ly}
-
-Tuplets are indicated by a bracket with a number. There should be no
-bracket if there is one beam that matches the length of the tuplet.
-The bracket does not interfere with the stafflines, and the number is
-centered in the gap in the bracket.
-
-@mudelafile{tup.ly}
-
-@section Repeats
-
-LilyPond has three modes for repeats: folded, unfolded and
-semi-unfolded. Unfolded repeats are fully written out. Semi unfolded
-repeats have the body written and all alternatives sequentially.
-Folded repeats have the body written and all alternatives
-simultaneously. If the number of alternatives is larger than the
-repeat count, the excess alternatives are ignored. If the number of
-alternatives is smaller, the first alternative is multiplied to get to
-the number of repeats.
-
-Unfolded behavior:
-
-@mudelafile{repeat-unfold.ly}
-
-Volta (Semi folded) behavior. Voltas can start on non-barline moments.
-If they don't barlines should still be shown.
-
-@mudelafile{repeat-volta.ly}
-
-Folded. This doesn't make sense without alternatives, but it works.
-
-@mudelafile{repeat-fold.ly}
-
-@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
-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
-@code{\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}
-
-@section Multiple notes
-
-Rests should not collide with beams, stems and noteheads. Rests may
-be under beams. Rests should be move by integral number of spaces
-inside the staff, and by half spaces outside. Notice that the half
-and whole rests just outside the staff get ledger lines in different
-cases.
-
-@mudelafile{rest-collision.ly}
-
-Normal collisions. We have support for polyphony, where the
-middle voices are horizontally shifted.
-
-@mudelafile{collisions.ly}
-
-The number of stafflines of a staff can be set with the property
-numberOfStaffLines. Ledger lines both on note heads and rests are
-adjusted. Barlines also are adjusted.
-
-
-@mudelafile{number-staff-lines.fly}
-
-@section Spacing
-
-In a limited number of cases, LilyPond corrects for optical spacing
-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
-must stretch like the space within the measure.
-
-Tight:
-
-@mudelafile{spacing-tight.ly}
-
-Natural:
-
-@mudelafile{spacing-natural.ly}
-
-Loose:
-
-@mudelafile{spacing-loose.ly}
-
-Adding a @code{Bar_engraver} to the LyricsVoice context makes sure that
-lyrics don't collide with barlines.
-
-@mudelafile{lyrics-bar.ly}
-
-@section Global stuff
-
-Breaks can be encouraged and discouraged using @code{\break} and
-@code{\nobreak}. They are abbrevs for @code{\penalty} commands.
-
-@mudelafile{break.ly}
-
-
-Markings that are attached to (invisible) barlines are
-delicate: the are attached to the rest of the score without the score
-knowing it. Consequently, they fall over often.
-
-@mudelafile{bar-scripts.ly}
-
-Staff margins are also markings attached to barlines. They should be
-left of the staff, and be centered vertically wrt the staff. They may
-be on normal staffs, but also on compound staffs, like the PianoStaff
-
-@mudelafile{staff-margin.ly}
-
-Breathing signs, also used for phrasing, do normally not influence
-global spacing -- only if space gets tight, notes are shifted to make
-room for the breathing sign. Breathing signs break beams running
-through their voice. In the following example, the notes in the first
-two measures all have the same distance from each other:
-
-@mudelafile{breathing-sign.ly}
-
-Fonts are available in a default set of sizes: 11, 13, 16, 20, 23 and
-26pt staffheight. Sizes of the text fonts and symbol fonts are made
-to match the staff dimensions.
-
-@mudelafile[nofly]{size11.ly}
-
-@mudelafile[nofly]{size13.ly}
-
-@mudelafile[nofly]{size16.ly}
-
-@mudelafile[nofly]{size20.ly}
-
-@mudelafile[nofly]{size23.ly}
-
-@mudelafile[nofly]{size26.ly}
-
-
-@section Clefs and Time Signatures
-
-The transparent clef should not occupy any space and with style
-@code{fullSizeChanges}, the changing clef should be typeset in full
-size. For octaviated clefs, the ``8'' should appear closely above or
-below the clef respectively. The ``8'' is processed in a convoluted
-way, so this is fragile as well.
-
-@mudelafile{clefs.ly}
-
-@ignore
-@c the input file is too long and does not test for specific bugs
-By default, time signatures are written with two numbers. With style
-``C'', 4/4 and 2/2 are written with their corresponding symbols and
-with style ``old'', 2/2, 3/2, 2/4, 3/4, 4/4, 6/4, 9/4, 4/8, 6/8 and
-9/8 are typeset with symbols, all other signatures retain the default
-layout. The style ``1'', gives single number signatures for all
-signatures.
-%
-\mu delafile{time.fly}
-@end ignore
-
-@bye
+++ /dev/null
-WHAT'S NEW SINCE 1.0.17
-
-* Large cleanups, enhanced design and GUILE integration for smaller
- memory footprint and more flexible code.
-
-* Direct output to PostScript (optional), PDFTeX or as GUILE script
- (default output still to plain TeX).
-
-* Convertors for ABC and MUP formats.
-
-* Font: now available as scalable PostScript. New glyphs: time
- signature, more note heads.
-
-* Enhanced input: semi-automatic beaming, (nested) tuplets, (nested)
- repeats, chordnames, automatic Lyrics durations.
-
-* Grace notes, volta brackets, multiple styles for note heads and
- time signatures, breathing signs, lyric extenders, cross staff
- beaming and slurring.
-
-* --safe option for the paranoid.
-
-* More elegant spacing. Text is spaced exactly.
-
-* Lots of bugfixes.
+++ /dev/null
-/* XPM */
-static char *noname[] = {
-/* width height ncolors chars_per_pixel */
-"50 71 63 2",
-/* colors */
-"`` c #666664",
-"`a c #F2F2F4",
-"`b c #5E5E5C",
-"`c c #EAEAEC",
-"`d c #565654",
-"`e c #E2E2E4",
-"`f c #4E4E4C",
-"`g c #DADADC",
-"`h c #464644",
-"`i c #D2D2D4",
-"`j c #3E3E3C",
-"`k c #CACACC",
-"`l c #363634",
-"`m c #C2C2C4",
-"`n c #2E2E2C",
-"`o c #BABABC",
-"`p c #262624",
-"`q c #B2B2B4",
-"`r c #1E1E1C",
-"`s c #AAAAAC",
-"`t c #161614",
-"`u c #A2A2A4",
-"`v c #0E0E0C",
-"`w c #9A9A9C",
-"`x c #060604",
-"`y c #929294",
-"`z c #8A8A8C",
-"a` c #828284",
-"aa c #7A7A7C",
-"ab c #727274",
-"ac c #6A6A6C",
-"ad c #626264",
-"ae c #5A5A5C",
-"af c #525254",
-"ag c #4A4A4C",
-"ah c #424244",
-"ai c #3A3A3C",
-"aj c #323234",
-"ak c #2A2A2C",
-"al c #FEFEFC",
-"am c #222224",
-"an c #F6F6F4",
-"ao c #1A1A1C",
-"ap c #EEEEEC",
-"aq c #121214",
-"ar c #E6E6E4",
-"as c #0A0A0C",
-"at c #DEDEDC",
-"au c #D6D6D4",
-"av c #CECECC",
-"aw c #C6C6C4",
-"ax c #BEBEBC",
-"ay c #B6B6B4",
-"az c #AEAEAC",
-"b` c #A6A6A4",
-"ba c #9E9E9C",
-"bb c #969694",
-"bc c #8E8E8C",
-"bd c #868684",
-"be c #7E7E7C",
-"bf c #767674",
-"bg c #6E6E6C",
-"bh c #FAFAFC",
-/* pixels */
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal",
-"alalbhbhalalbhalalbhalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalbhbhalalbhalalalalalalalalalalalalalalalalalal`o`ya``s`wbhalalalalalalalalalalalalalalalalalal",
-"bhalalalalalbhalalalalalalalalalalalalalalalalalal`a`malalalap`obb`malalalalal`cax`galalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalbcalbhalalalalalax`ialalal`gauav`u`ealalalalalalal",
-"alalalalalalalbhalalalalalalalalalalalalalalalalawar`ialalalalalalalaxapalalbaacat`i`oalalalalalalal",
-"alalbhalalalalbhalalalalalalalalalalalalalalalalazal`sbhalalalalalalalayalbh`eba`iapavalalalalalalal",
-"albhalbhalalalalalalalalalalalalalalalalalalalal`oatalb``aalalalalalal`oanazazanbhayalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalanawal`salalbaalalalalalalalazaa`cav`oalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalapawalalaranal`i`qalalalalalalbeayazbcbcalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalal`g`oapalalalalal`yalalalalal`gbbabbhapalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalal`sanalalalalalbdalalalalalbc`obbalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalapaaanalalalalal`qatan`ealax`sbbazalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalal`kab`oalalalalalau`uaw`salbb`ua`bcalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalayalalalalalalan`ea`axax`oba`oazaxaralalalalalalalalalalal",
-"alalalalalalalalalalapbhalalalalalalalalalaybhalalalalan`s`sazav`gaz`qbdalalazalalalalalalalalalalal",
-"alalalalalalalalalalax`u`aalalalalalalalalaraw`o`c`c`aaxaw`g`kav`sayb`ayalal`m`calalalalalalalalalal",
-"alalalalalalalalalalal`c`sbhalalalalalalalalalal`c`jb`albh`yavapazay`w`ialalalay`aalalalalalalalalal",
-"alalalalalalalalalalalalar`qbhalalalalalalalalalal`v`sav`abcaubbaw`u`salalalalalayapalalalalalalalal",
-"alalalalalalalalalalalalal`i`kalalalalalalalalalal`l`way`uau`cazazazbc`q`ialalalal`galalalalalalalal",
-"alalalalalalalalalalalalalalaw`galalalalalalan`i`m`hbe`q`oap`w`m`uax`ialax`salalalalalalalalalalalal",
-"alalalalalalalalalalalalalalal`oatalalalbh`kbaadagad```oav`i`mb`ba`ualalal`i`oalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalanaz`aalanaz`nag`ian`w`k`iar`waw`o`o`ialalalalau`ialalalalalalalalalal",
-"alalalalalalalalalalalalalalalalapba`c`zakac`aalau`calapaz`gbabb`qbhalalalalal`ualalalalalalalalalal",
-"alalalalalalalalalalalalalalalalal`ibdambd`c`aalalalal`a`yax`kb``u`aalalalalal`e`kalalalalalalalalal",
-"alalalalalalalalalalalalalalalalarbcajbf`q`kalalalalal`w`c`sbc`k`e`kalalalalalal`salalalalalalalalal",
-"alalalalalalalalalalalalalalalalawaoaibbaw`kalalalalapbaaw`gb`baalaualalalalalal`salalalalalalalalal",
-"alalalalalalalalalalalalalalal`cbgaq`y`q`o`ialalalal`wbh`sba`g`oalaralalalalalal`ualalalalalalalalal",
-"alalalalalalalbhbhalalalalalalar`v`lbfazap`qapalal`gaz`k`e`y`u`galbhalalalalalalb`alalalalalalalalal",
-"alalalalalalalalalalalalalalalbb`x`l`qayalap`u`aala`al`u`q`ebebhalbhalalalalalalb`alalalalalalalalal",
-"alalalalalalalalalalalalalalal`gao`hayazalalapb``kax`iaubeaybaalalalalalalalalalbaalalalalalalalalal",
-"alalalalalalalalalalalalalalalalbdahba`galalalatbcalbb`maxbeatalalalalalalalalalbaalalalalalalalalal",
-"alalalalalalalalalalalalalalalalau`jb``calbhalal`k`oaw`zapbfalalalalanalalalalal`salalalalalalalalal",
-"alalalalalalalalalalalalalalalal`aad`malalbbalalal`o`kbb`y`ialalalal`walalalalal`qalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalbebaalapbfalalalbhbb`c`dalalalalalagalalalalap`oalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalbb`ialalajalalalalap`w`walalalalaxaaalalalal`qalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalazalalalbf`aalalalalbaayanalalalbg`ealalalbh`qalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalaxalalalbebhalalal`c`s`saxalalal``alalalalaybhalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalal`oalalal`ealalalalbb`eaw`uawalalawalbhalataualalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalanalalalalalalalal`wb`alayb``malalal`sal`oalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalal`galalalal`q`g`wauaraz`yalalaxapalbhalalalalalalalalalalalal",
-"alalalalbhalalalalbhalalalalbhbhalalbhal`salalalal`waw`kay`kapb`al`k`galalalbhbhbhbhbhalalalalalalal",
-"albhbhalbhalalalalbhalalalalalbhalalal`i`malalbhar`sbdal`q`oalalal`walalbhalalalalalbhalalalalalalal",
-"bhalalalalalalalalalalalbhalalal`ialalanavalalalbcalbbat`g`qalbhar`qalalalalalalalalalbhbhbhbhbhbhal",
-"alalalalbhbhbhalalbhbhalalalal`mbealbhalawalalalbd`iat`oaratalal`yalbhalalalalalalalalalalalalalbhal",
-"alalbhalalalalbhalalalalbhbhal`najalal`aarbhal`s`eazalazazalal`cb`alalalbhbhbhbhbhalalalalalalalalal",
-"bhalbhalalalalbhalalalalalalbbas`naralalalalal`yalazarauayalalbaa`albhalalalalalbhalalalalalalalbhal",
-"alalalalalalalalalalbhalal`aaq`r`hbdalalalalaraz`m`aazan`mal`ebd`jalalalalalalalalbhbhbhbhbhbhalalal",
-"alalbhbhbhalalbhbhalalalalaa`vah`d`d`calbhalbaal`qal`o`obhalbhbd`ray`i`gbhalalalalalalalalalbhalbhal",
-"bhalalalalbhalalalalbhalal`v`t`lah```ualalalbaan`q`cavaxalalatbeai`hauaw`waz`kav`ialalalalalalalalal",
-"bhalalalalbhalalalalal`aap`x`tahafbb`ybdalavat`sbh`sal`qalal`c`qafam`faab`axauav`i`s`oaualalbhalbhal",
-"alalalalalalalanaxax`s`q`gasao`pbebabb`ubd`walb`al`oavapalalbhaybeagaq`n`sauaw`i`iapat`kayauapalalal",
-"bhbhbhalalav`kazarauayay`sad`r`facae`mazaubgb``sbh`m`oalalalalavbbaeai`j`oav`g`oatau`c`g`a`eb`azanal",
-"alalalat`o`e`mavayavauarawayaq`lbf`yb``e`zap`yawbd`qayalalalap`ibcad`j`jbb`i`gapal`cal`iatau`gar`o`c",
-"alal`eavalbh`g`g`g`ialanaral`b`vabbd`u`ibd`e`ual`o`ea`bbbdbcb`arb````la``uap`i`cavapalarav`catav`c`q",
-"al`eavar`aanar`gavatayavaranatasae`wbcawax`iaval`calalalalalalaybcaf`hbb`garan`g`c`g`i`eatauatau`oap",
-"al`s`a`carau`capanal`gapanbhal`s`ragbc`e`k`walalalalalalal`cap`oa`bfbgarauauan`g`i`e`c`c`a`g`cauatal",
-"al`e`qay`s`i`eanarau`matau`cauau`s`ta`bd`sawalbhalalbhalapatav`s`f`baxalanat`aananan`eawat`max`aalal",
-"bhalbhawavbh`aavar`e`gawawau`k`i`c`i`h`d`y`ealalbhalalalalapauaxb`avan`carbhan`gau`aan`iax`ebhalalal",
-"alalalalan`uawawal`g`e`e`oatavat`q`ganbb`babbhalalap`ubbb`bb`z`u`gaparbhbhalanaw`iavax`cbhalalalbhal",
-"albhalbhalalbhanax`oaw`m`i`m`m`kbhalalalap`obaavalbhan`aan`aalalalalapaxawaw`oapanbhalalalalalalbhal",
-"alalalalalalalalalalananbhanbhalalalalalalalan`gb``qawavaxau`m`o`o`s`eananalalalalalalalalalalalalal",
-"alalalalalalbhbhbhalalalalalalalalbhalbhalalalalalalbhbhanbhalalalalalalalalalalalalalalalbhalalalal",
-"albhalalalbhalalalalalalalalbhbhbhalalalbhalbhalalalalalalalbhalalalalalalalalalbhalalalbhalalalbhal",
-"alalbhbhalalalalalbhalbhalalalalalalalalbhalalbhalalalalbhalalalbhalalbhbhbhalalbhbhbhalalbhalalbhal",
-"albhalalalalalalbhalbhalbhalalalalbhalalalalbhalalalalalalalalbhalbhalalalalbhalalal`aalalalbhalalal",
-"alalalalbhbhbhalalalalalalalalbhalbhalalalalalbhbhbhbhalalbhalalalbhalalalalalap`qbb`salalalalalbhal",
-"alalalbhalalalalalalalalbhbhbhalalalbhalbhalalalalalalalbhalalalalalalalalalalae`uav`calalalbhalalal",
-"bhbhalalalalalbhalbhalalalalalalalalbhalalbhalalalalbhalalalbhalalbhbhbhalalalalalaralalalalbhalbhal"
-};
+++ /dev/null
-/* XPM */
-static char *noname[] = {
-/* width height ncolors chars_per_pixel */
-"100 143 64 2",
-/* colors */
-"`` c #666664",
-"`a c #F2F2F4",
-"`b c #5E5E5C",
-"`c c #EAEAEC",
-"`d c #565654",
-"`e c #E2E2E4",
-"`f c #4E4E4C",
-"`g c #DADADC",
-"`h c #464644",
-"`i c #D2D2D4",
-"`j c #3E3E3C",
-"`k c #CACACC",
-"`l c #363634",
-"`m c #C2C2C4",
-"`n c #2E2E2C",
-"`o c #BABABC",
-"`p c #262624",
-"`q c #B2B2B4",
-"`r c #1E1E1C",
-"`s c #AAAAAC",
-"`t c #161614",
-"`u c #A2A2A4",
-"`v c #0E0E0C",
-"`w c #9A9A9C",
-"`x c #060604",
-"`y c #929294",
-"`z c #8A8A8C",
-"a` c #828284",
-"aa c #7A7A7C",
-"ab c #727274",
-"ac c #6A6A6C",
-"ad c #626264",
-"ae c #5A5A5C",
-"af c #525254",
-"ag c #4A4A4C",
-"ah c #424244",
-"ai c #3A3A3C",
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-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalaq`falalalalalauawalalalalalalalalalabbaalauaralalalalalalalalalalauaxalalalalalalalalalbhbialalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal`p`ualalalalalauaualalalalalalalalalalacabajanalalalalalalalalala`aualalalalalalalalalaladalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalafalalalalalal`qaualalalalalalalalalalalab`yalalalalalalalalalalauasalalalalalalalalal`ca`alalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalagalalalalalalalau`aalalalalalalalalalav`b`o`walalalalalalalal`caualalalalalalalalalalahalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalala`alalalalalalalau`malalalalalalalalalaoalbi`z`salalalalalalalazaualalalalalalalalal`i`oalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalabalalalalalalalaualalalalalalalalalalajal`obf`o`kalalalalalalb`aualalalalalalalalal`jalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal`s`galalalalalalalaualalalalalalalalalbhavaladalbbay`aalalalalalalaualalalalalalalalbdaralalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalaealalalalalalalalalalalalalalalalalalaualaladalal`t`ualalalalalal`zalalalalalalal`ebaalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal`ualalalalalalalalalalalalalalalalal`eadalafanalbbal`uaaalalalalalalalalalaralalalaealalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalaialalahalal`bal`gbfbgalalalalalalalat`palal`dalalalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal`ralaladalalacal`balbcaxalalalalalal``alalbi`malalalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal`ealalalalalalalalalac`kal`lalal`savalafal`ybbalalalalalaealalalalalalalalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal`halalalalalalalalal`xalal`ralalbhalalaealbfa`alalalalacalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalbcaralalalalalalalal`gbgal`qbealalafalbdalalbbaealalalb``ualalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal`palalalalalalalalalaoalalaualal`iaxal``alalalalalalal`ralalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal`yalb`alalalalalalalalaoalalaualaladalal``alalalalalal`k`zalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal`zalaaalalalalalalaladaralbd`qalaladalaw`kalalalalalal`talalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal`eavalalalalalalalaualalaualalavbbalaealalalalalalal`nalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalaualalalalalalal`walalalalalalal`g`balalacalalbhalalbhalalalalalalbhalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalazaualalalalalalalbealalalalalalal`valalazayalalacalanb`alalalalalal`valalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalauauapalalalalalal`walalalalalalalasalalafalal`a`ualabalalalalalalal`ralalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalaeauauabalalalalalavayalalalalalal`f`galalafalal`dalal`dalalalalalalal``alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalauauaoaualalalalalalalalalalalalalaualala`bialal`falal`balalalalala``o`yalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalaqauau``aualalalalalalalalalalalal`g`balalafalalal`walbbapalalalalatajbhbaalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalal`aau`nauajai``alalalalalalalalalalalaoalalal`balal``alal`falalalalalalad`nbbalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalauau`x`t`ladaualalalalalalalalalalalaoalal`zalalalafalalbhalalalarayba`t`tbfalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalb`auauaqbham```zaaalalalalalalalalalab`galal`falalalabalawaxalalalalararabau`nalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal",
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-"alalalalalalalalalalalalalalalalalalalalalalalalalalauaqau`p`xajbgas`o`ualbe`ralalalalaxb`alalafalalalahalaladalalalalalalalazb`aeaoajauagadbdbaahan`c`q`wapalalalbc`dbe`oalalalalalalalalalalalalalalal",
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-"alalalalalalalalalalalalalbb`y`gal`a`mavaaaxalbeaaay`qauam`jaoaa`jagakaqbb`g`iacalalauaga`al`balalal`balal`balalalalalalalalal`z`sbhbh`j``akauae```aalalalaraz`q`oat`eal`g`aalaralalatalav`tbgalalalalal",
-"alalalalalalalalalalavai`u`i``ayalalalarav`ka``o`yayalau`xasam`zag`mazabap`mbaal`may`ybi`kau`balal`gawal`c`salalalalalalalalat`ibaaz```bakakau`uaxalb`abbb`oazayalarb``sbibiazazal`kaval`gav`eakatalalal",
-"alalalalalalalalaz`fayalbf`ealbebe`salal`oaxbi`eaxaab`bgau`jam`dbc`sae`wad`m`gayal`talalal`jalaiabbfalalbfalalalalalalalalanayar`o`yaa`lahaeauaf`q`t`savax`malalalalalalalalanaxapat`ebbbial`calat`balal",
-"alalalalalalaladatalalalalb`arapalbdae`oalalalatalalanbiauau`l`vahag`y`iaw`zalalawajal`gawadalalalauaua``dalalalalalalalal`q`gaw``aaazajaiakau`ubealalalalal`g`calalar`ealal`cb`an`ual`g`say`aalay`e`wal",
-"alalalalalal``analalalal`c`k`m`m`k`g`malalalalalalalalalazauasau`hbdb`a`bdbdalawbca`baal``alalalarayal`aauaj`bauauamajas`t`waw`cab`ubf`nbhamaualau`e`eatazazarar`m`u`ealalalalal`may`qalalav`u`iawaladal",
-"alalalalbibgalalalalal`a`oalanalalavax`galalal`iawayalalalauauao`zaa`bbhalbhadalasal`gal`palalaladalal`aalalalalalalalalalalalan`marabbgaiauaiarazalalalal`gatalalaxavalalalal`s`ialalan`qalalaz`cal`dal",
-"alalalal`dalanazalaralalanalalayavaval`sa`adbf`ialalalalal`sauam`nbb`gacbfacal`wajalalal``alalal`malalalalalalalalalalalalalbaav`k`wauacasbf`iajalalalalapal`a`zavalal`abc`oaralalal`qavalat`obi`ub`atal",
-"alalalbhalalalar`calal`gatavaxaxax`maralalalalalatazatalalalauau`n``bc`sbc`qa`alal`calajalalalalalalalalalalalalalalalalalalaybfahacagbcaiac``al`mbbbbapalalanalal`ebcavalalalb``w`mal`i`walaw`c`cbbalal",
-"alalal`fal`ialal`mavayaralawatalalalalal`c`ialalalalalalalalalauauahafak`q`q`aal`ualalaqalalalalalalalalalalalalalalalalalalal`obcaxbebh`nbc`qalalalalalal`gb`axalalalalalba`malalalaralal`galar`walalal",
-"alalalaealal`kavalalar`k`aanapalalapalalarazaw`capal`aalalalalalauamaubdaf```qbibgal`ebealalalalalalalalalalalalalalal`u`o`c`oab`b`f`zac`u``alalaz`sbb`qalalalalbc`wbaanalbialalal`a`o`m`ealba`oalalalal",
-"alalalbbaaap`yaeaja``ial`oalaranalalal`m`yawan`m`u`kalapalaw`ualalauao`rbcaxaual`u`k`jalalalalalalalalalalalalalal`oaxalalaz`wae`fafagag`nalalalalalalalal`c`ealalalalalalalalaw`obialb`biaeapalalalalal",
-"alalalalalagalalal`a`o`q`ialalal`abc`zalalba`mal`ealazalbdbiaxaralal`vauahabak`kaz`zalalalalalalalalalalalalalalalalalb`azawalavaj``az`palalalalalal`e`sapapalalalal`ealaw`s`y`walay`o`ubcalalalalalalal",
-"alalalalalalbbbdalalalalalalal`uawalalalalawayaxaxb`alazavaz`g`kavalal`kauag`paz`ya`alalalalalalalalalalalalalalalalalaw`mb`ab`zala``balalalalalalalalalalalal`o`uaz`galalananal`q`w`ualalalalalalalalal",
-"alalalalalalalanaa`ualalalav`zalalat`g`oaz`e`o`eav`k`c`oax`eazaral`ial`m`m`tau`bahap`yapalalalalalalalalalalalalalalalalalalalalaeavalalalavaxav`qawalalal`g`qapalalalalalalava``ualalalalalalalalalalal",
-"alalalalalalalalalbiad`nayalalalalalb`awaz`eat`qalay`i`galaxalal`saybfanalalbdauac`s`q`valalalalalalalal`iat`eay`earbfbg`pau`vaaal`oawal`karalalalalalalalatalalalalalbcbha`axalalalalalalalalalalalalal",
-"alalalalalalalalalalalal`iaabfbcalalalalalalalalacazbiav`u`m`g`ua``kalalalalalal`faubeac`calalalalalal`uaf`baf`hahaca``ialalalbi`ianalalalalalalalalalalalalataibb`u`wanalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalbiaca`aa`yalalalalalalanalalbcbhavalalalalalalalalalap`b`oarb`alalalalalalalalalalalal`calalalalbialalalalalalalalalalb`bga`acavalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalat`wabbhbgb``qaabebfalalalalalalalalalalalalalalapbc`l`pbialalalalalalalalalalalalalalalalalalalalal`s``a`bf`zalalalalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalala`ahadbh`db`bcbiatalalalal`ubcaf`wacbe`fae`uanalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal`g`gabbgababav`ialalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal",
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-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalafaealalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalal`oal`z`l`wbhafalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalauagbeaqal`mb`alalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalaf`mbialalaaalalalalalalalalalalalalalalalal",
-"alalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalalbaalalalalalalalalalalalalalalalal",
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- c )c
- r2
-% \stemdown c4( \translator Staff=two c c \translator Staff=one )c
- \stemdown d4( \translator Staff=two c c \translator Staff=one )d
- \translator Staff=two
- \stemup c4( \translator Staff=one c c \translator Staff=two )c
- r1
- }
- \context Staff=two \notes\relative c'{
- \clef bass;
- s1 s1 s1 s1 s1 s1 s1 s1 s1 s1
- }
- >
- \paper{
- \translator{
- \PianoStaffContext
- minVerticalAlign = 3.0*\staffheight;
- maxVerticalAlign = 3.0*\staffheight;
- }
- %linewidth=100.\mm;
- }
-}
-
-\version "1.2.0";
+++ /dev/null
-/*
- (c) 1996--98 Han-Wen Nienhuys
-*/
-
-#ifndef MOMENT_HH
-#define MOMENT_HH
-
-#include <limits.h>
-#include "rational.hh"
-
-class String;
-typedef Rational Moment;
-
-
-/**
- A really big time-moment.
-
- Windhoze-suck-suck-suck-suck-suck-thank-you-cygnus
-
- I get tired of all these incompatibilities. Let's just assume that
- INT_MAX is really, really, really big.
-
- Can't we name this Saint_jut_mom (Sintjuttemis ?) */
-
-
-const Moment infinity_mom = INT_MAX;
-
-#endif //
-
+++ /dev/null
-/*
- moment.cc -- implement Moment
-
- source file of the GNU LilyPond music typesetter
-
- (c) 1996, 1997--1999 Han-Wen Nienhuys <hanwen@cs.uu.nl>
-*/
-
-#include <iostream.h>
-#include "string.hh"
-#include "moment.hh"
-
+++ /dev/null
-/*
- staff-switching-translator.cc -- implement Staff_switching_translator
-
- source file of the GNU LilyPond music typesetter
-
- (c) 1999 Han-Wen Nienhuys <hanwen@cs.uu.nl>
-
- */
-#include "engraver.hh"
-#include "interpretation-context-handle.hh"
-#include "drul-array.hh"
-#include "engraver-group-engraver.hh"
-#include "musical-request.hh"
-
-class Staff_switching_translator : public Engraver
-{
- Interpretation_context_handle my_voice_;
- Drul_array<Interpretation_context_handle> staff_handle_drul_;
-
- int switch_pitch_i_ ;
-protected:
- virtual bool do_try_music (Music* m);
- virtual void do_creation_processing ();
-
- void default_voice (Direction);
-public:
- Staff_switching_translator ();
- VIRTUAL_COPY_CONS(Translator);
-};
-
-Staff_switching_translator::Staff_switching_translator ()
-{
- switch_pitch_i_ =0;
-}
-
-void
-Staff_switching_translator::do_creation_processing ()
-{
- Translator_group * daddy =daddy_grav_l (); // staff switching context
-
-
- Scalar pit = get_property ("switchPitch", 0);
- if (pit.isnum_b ())
- switch_pitch_i_ = int (pit);
- Scalar s = get_property("staffContextName", 0);
- Scalar up = get_property ("upStaffName",0);
- Scalar down = get_property ("downStaffName",0);
- if (!up.length_i()) up = "upper";
- if (!down.length_i()) up = "lower";
-
- staff_handle_drul_[UP].set_translator (daddy->daddy_trans_l_ -> find_create_translator_l (s, up));
- staff_handle_drul_[DOWN].set_translator (daddy->daddy_trans_l_-> find_create_translator_l (s, down));
-
-
- staff_handle_drul_[DOWN].report_to_l ()->set_property ("defaultClef", "bass");
-
- default_voice (UP);
-}
-
-
-void
-Staff_switching_translator::default_voice (Direction d)
-{
- Scalar s = get_property ("acceptorName",0);
- my_voice_.set_translator (staff_handle_drul_[d].report_to_l ()->find_create_translator_l ("Thread", daddy_trans_l_->id_str_));
-}
-
-bool
-Staff_switching_translator::do_try_music (Music*m)
-{
- if (Note_req*nr = dynamic_cast<Note_req*> (m))
- {
- Direction staff = (nr->pitch_.semitone_pitch () >= switch_pitch_i_)
- ? UP
- : DOWN;
-
-
- Translator_group * mv = my_voice_.report_to_l ();
- Translator_group *dest_staff =staff_handle_drul_[staff].report_to_l ();
- Scalar s = get_property ("switcherName", 0);
-
- while (mv && mv->type_str_ != s)
- {
- mv = mv -> daddy_trans_l_;
- }
-
- if (!mv)
- default_voice (staff);
-
- if (mv->daddy_trans_l_ != dest_staff)
- {
- mv->daddy_trans_l_->remove_translator_p (mv);
- dest_staff->add_translator (mv);
- }
- }
-
- return my_voice_.try_music (m);
-}
-
-ADD_THIS_TRANSLATOR(Staff_switching_translator);
projects / lilypond.git / commitdiff