From: fred <fred>
Date: Tue, 14 Mar 2000 11:44:01 +0000 (+0000)
Subject: lilypond-1.3.35
X-Git-Tag: release/1.5.59~5748
X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=44babf224ebef8f1d4125081ec3386ef6f40c8ca;p=lilypond.git

lilypond-1.3.35
---

diff --git a/Documentation/regression-test.tely b/Documentation/regression-test.tely
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+\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.ly}
+
+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.
+
+Harmonic notes have a different shape and different
+dimensions. Nevertheless, noteheads in both styles can be combined, on
+either up or down stems.
+
+@mudelafile{noteheadstyle.ly}
+
+Noteheads can have dots, and 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}
+
+If @code{Score.skipBars} is set,
+the signs for four, two, and one measure rest are combined to
+produce the graphical representation of rests for up to 10 bars.
+The number of bars will be written above the sign.
+
+@mudelafile{mm-rests2.ly}
+
+A sharp sign after a double sharp sign, as well as a flat sign
+after a double flat sign is automatically prepended with a
+natural sign.
+
+@mudelafile{double-single-acc.ly}
+
+@section Stems
+
+Stem tremolos 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.
+
+Grace notes without beams should have a slash, if @code{flagStyle} is
+not set.  Main note scripts don't end up on the grace 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.
+Override with @code{noStemExtend}.
+
+@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}
+
+When tieing chords, the outer slurs point outwards, the inner slurs
+point away from the center of the staff.  Override with
+@code{tieVerticalDirection}.
+
+@mudelafile{tie-chord.ly}
+
+When tieing notes with accidentals across a bar boundary, the accidental
+must not be drawn on the note in the new bar.  Instead, the next note of
+the same pitch in this bar should always show the accidental (even if
+it's natural).  Slurring a accidentaled note to a natural one across bar
+boundaries should be explicit.
+
+Pitches can be verified by printing them  with the @code{NoteNames} context.
+
+@mudelafile{tie-accidental.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-cross-staff.ly}
+
+The same goes for slurs. They behave decently when broken across
+linebreak.
+
+@mudelafile{slur-cross-staff.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