LilyPond Regression Tests

Introduction

This document presents proofs for LilyPond dev. When the text corresponds with the shown notation, we consider LilyPond Officially BugFree (tm). This document is intended for finding bugs and for documenting bugfixes.

In the web version of this document, you can click on the file name or figure for each example to see the corresponding input file.

TODO: order of tests (file names!), test only one feature per test. Smaller and neater tests.

Regression test cases

to-staff-space produces identical output for different settings of set-global-staff-size and layout-set-staff-size.

For the tests we use \abs-vspace, which in turn calls to-staff-space.

absolute-dimensions-size10-layout30.ly

to-staff-space produces identical output for different settings of set-global-staff-size and layout-set-staff-size.

For the tests we use \abs-vspace, which in turn calls to-staff-space.

absolute-dimensions-size30-layout10.ly

Natural signs don’t displace accents.

accidental-accent.ly

Accidentals are available in different ancient styles, which all are collected here.

accidental-ancient.ly

When a tie is broken, the spacing engine must consider the accidental after the line break. The second and third lines should have the same note spacing.

accidental-broken-tie-spacing.ly

Test if cautionary accidentals have the same horizontal spacing correction as regular accidentals.

accidental-cautionary-horizontal-spacing.ly

Test if Scripts are placed over notes with accidentals the same way as over notes with cautionary accidentals.

accidental-cautionary-script-placement.ly

Cautionary accidentals may be indicated using either parentheses (default) or smaller accidentals.

accidental-cautionary.ly

Accidentals are invalidated at clef changes.

accidental-clef-change.ly

accidentals avoid stems of other notes too.

accidental-collision.ly

Several automatic accidental rules aim to reproduce contemporary music notation practices:

• 'dodecaphonic style prints accidentals on every note (including naturals)
• 'neo-modern style prints accidentals on every note (not including naturals), except when a note is immediately repeated
• 'neo-modern-cautionary style acts like neo-modern, adding cautionary parentheses around accidentals.
• 'teaching prints accidentals normally, but adds cautionary accidentals when an accidental is already included in the key signature.

Both scores should show the same accidentals.

accidental-contemporary.ly

If two forced accidentals happen at the same time, only one sharp sign is printed.

accidental-double.ly

Horizontal Fingering grobs should not collide with accidentals.

accidental-fingering-collision.ly

Accidentals can be forced with ! and ? even if the notes are tied. Cautionary accidentals applied to tied notes after a bar line are valid for the whole measure.

accidental-forced-tie.ly

By setting accidentalGrouping to 'voice, LilyPond will horizontally stagger the accidentals of octaves in different voices as seen in this test’s E-sharp.

accidental-grouping.ly

Ledger lines are shortened when there are accidentals. This happens only for the single ledger line close to the note head, and only if the accidental is horizontally close to the head.

accidental-ledger.ly

This shows how accidentals in different octaves are handled. The note names are also automatically printed but the octavation has been dropped out.

accidental-octave.ly

In piano accidental style, notes in both staves influence each other. In this example, each note should have an accidental.

accidental-piano.ly

Accidental padding works for all accidentals, including those modifying the same pitch.

accidental-placement-padding.ly

When two (or more) accidentals modify the same pitch, they are printed adjacent to one another unless they represent the same alteration, in which case they are printed in exactly the same position as one another. In either case, collisions with accidentals of different pitches are correctly computed.

accidental-placement-samepitch.ly

Accidentals are placed as closely as possible. Accidentals in corresponding octaves are aligned. The top accidental should be nearest to the chord. The flats in a sixth should be staggered.

accidental-placement.ly

Quarter tone notation is supported, including threequarters flat.

accidental-quarter.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.

accidental-single-double.ly

Test all available accidental styles.

accidental-styles.ly

setting the suggestAccidentals will print accidentals vertically relative to the note. This is useful for denoting Musica Ficta.

accidental-suggestions.ly

The second and third notes should not get accidentals, because they are tied to a note. However, an accidental is present if the line is broken at the tie, which happens for the G sharp.

The presence of an accidental after a broken tie can be overridden.

accidental-tie.ly

Space is allowed for the actual size of accidentals on tied notes.

accidental-unbroken-tie-spacing.ly

This shows how modern cross voice auto cautionary accidentals are handled. The first two fisses get accidentals because they belong to different voices. The first f gets cautionary natural because of previous measure. The last f gets cautionary natural because fis was only in the other voice.

accidental-voice.ly

Accidentals work: the second note does not get a sharp. The third and fourth show forced and cautionary accidentals.

accidental.ly

Accordion register symbols are available in the (lily accreg) module as \markup and as standalone music events.

accreg.ly

\add-grace-property can be used at various context levels in order to override grace properties. Overrides in different parallel contexts are independent.

add-grace-property.ly

add-stem-support can be removed or implemented only for beamed notes.

add-stem-support.ly

This is a test of combining post-events with various constructs. Problems are reported on the stderr of this run; there are no images produced.

added-post-event-test.ly

\addlyrics should be able to attach itself to named and unnamed Voice constructs. For all tests where this succeeds, the noteheads will be red.

addlyrics-existing-context.ly

\addlyrics may get used on a Staff context and will then consider all note events created below it for synchronization.

addlyrics-to-staff-context.ly

Delayed post-events and other types of music can be created with \after and \afterGrace.

after.ly

A warning is emitted when the context specified in alignAboveContext or alignBelowContext does not exist, such as when the context having the alignAboveContext or alignBelowContext property is created before the context that this property refers to.

alignment-order-unfound-context.ly

Newly created contexts can be inserted anywhere in the vertical alignment.

alignment-order.ly

Alignments may be changed per system by setting alignment-distances in the line-break-system-details property

alignment-vertical-manual-setting.ly

By default, certain staff contexts for ancient music do not forbid line breaks between bar lines. The output should have a break at a point without a bar line.

allow-break-ancient.ly

The \allowBreak command inserts a break point regardless of bar lines, unbreakable spanners, etc. This test should have a break in the middle of a measure.

allow-break.ly

The command \alterBroken may be used to override the pieces of a broken spanner independently. The following example demonstrates its usage with a variety of data types.

alter-broken.ly

Alternative notation systems using accidentals different from the Western ones set them systematically, for standalone markups and all grobs that print accidentals.

This include file provides a function to draw many accidental in different contexts. It is used by various tests.

alteration-glyphs.ly

This case places \alternative within the body of a \repeat segno, with the alternatives at the end of the repeated section, but with volta numbers out of order. Alternative bar numbering is enabled.

The alternatives are notated with brackets rather than coda signs. Repetition is notated with a segno and simplified D.S. instructions that have no return counts or section labels. Alternative bar numbers appear.

alternative-end-segno.ly

This case places \alternative within the body of a \repeat volta, with the alternatives at the end of the repeated section. The alternatives receive volta brackets, bar numbers, and ending repeat bar lines. They unfold as expected.

alternative-end.ly

This case places \alternative within the body of a \repeat segno, neither at the start nor the end of the section. The alternatives receive volta brackets and bar numbers, but no coda marks or repeat bar lines. They unfold as expected.

alternative-middle-segno.ly

This case places \alternative within the body of a \repeat volta, neither at the start nor the end of the section. The alternatives receive volta brackets and bar numbers, but no repeat bar lines. They unfold as expected.

alternative-middle.ly

A whole-measure rest starting in a volta alternative is placed correctly.

alternative-mmrest.ly

This case nests one \alternative within another at the tail end of a \repeat segno. Alternative bar numbering is enabled.

The outer alternative receives a coda mark, no volta bracket, and normal bar numbering.

The inner alternative receives a volta bracket. Alternative bar numbering is used because it is the outermost volta bracket. The bracket communicates the return count, so the return count is omitted from the D.C. instruction to avoid redundancy.

The music unfolds to ABC ABC AD.

alternative-nest-end-end-segno1.ly

This case nests one \alternative within another at the tail end of a \repeat segno. Alternative bar numbering is enabled.

The outer alternative receives a coda mark, no volta bracket, and normal bar numbering.

The inner alternative receives volta brackets. Alternative bar numbering is used because they are the outermost volta brackets.

The music unfolds to ABC ABD AE.

alternative-nest-end-end-segno2.ly

This case nests one \alternative within another at the tail end of a \repeat volta. Alternative bar numbering is enabled.

The outer alternative receives a volta bracket and alternative bar numbering.

The inner alternative receives volta brackets and does not interrupt the bar numbering of the outer alternative.

The music unfolds to AB ACDE ACDF.

alternative-nest-end-end.ly

\alternative music can be assigned to a variable and used in multiple places, even with different repeat counts.

alternative-reuse.ly

This case places \alternative within the body of a \repeat segno, with the alternatives starting at the start of the repeated section and ending before the end of the section. The alternatives receive volta brackets and bar numbers, but no coda marks or ending repeat bar lines. They unfold as expected.

alternative-start-segno.ly

This case places \alternative within the body of a \repeat volta, with the alternatives starting at the start of the repeated section and ending before the end of the section. The alternatives receive volta brackets and bar numbers, but no ending repeat bar lines. They unfold as expected.

alternative-start.ly

A score with \alternative outside of \repeat is processed gracefully. The visual output is not important.

alternative-top-level.ly

Alternative music in a variable does not automatically attach to preceding \repeat, but \alternative attaches it.

alternative-trailing-var.ly

Ambitus for pieces beginning with \cueDuringWithClef.

Cues are often used at or near the beginning of a piece. Furthermore, a cue is frequently in a different clef, so the \cueDuringWithClef command is handy. Using this command at the beginning of a piece should leave the ambitus displayed based on the main clef.

An Ambitus_engraver should ignore notes in CueVoice contexts.

ambitus-cue.ly

The gaps between an AmbitusLine and its note heads are set by the gap property. By default, gap is a function that reduces the gap for small intervals (e.g. a fourth), so that the line remains visible.

ambitus-gap.ly

Ambitus engraver should obey middleCOffset, middleCPosition, and the staffLineLayoutFunction.

All three staves should look the same.

ambitus-middleC.ly

A voice with \ottava shouldn’t confuse ambitus.

ambitus-ottava.ly

Adding ambitus to percussion contexts does not cause crashes, since the Ambitus_engraver will only acknowledge pitched note heads.

ambitus-percussion-staves.ly

Ambitus use actual pitch not lexicographic ordering.

ambitus-pitch-ordering.ly

Ambitus can be moved to various positions with correct horizontal spacing in all cases.

ambitus-position.ly

A voice with Ambitus_engraver that starts with a skip while another voice starts with a note does not cause a programming error.

ambitus-skip-at-start.ly

Ambitus accidentals (whether present or not) are ignored by the slur engravers.

ambitus-slur.ly

A \Voice should be able to contain both an Ambitus_engraver and a Mensural_ligature_engraver without segfaulting.

ambitus-with-ligature.ly

Ambitus indicate pitch ranges for voices.

Accidentals only show up if they’re not part of key signature. AmbitusNoteHead grobs also have ledger lines. The noteheads are printed in overstrike, so there’s only one visible; the accidentals are prevented from colliding.

ambitus.ly

Footnotes and balloons also work on system start delimiters.

annotate-system-start-delimiter.ly

Footnotes and balloons also work on volta brackets running to the end of the piece.

annotate-volta-spanner-end.ly

With \applyContext, \properties can be modified procedurally. Applications include: checking bar numbers, smart octavation.

This example prints a bar-number during processing on stdout.

apply-context.ly

The \applyOutput expression is the most flexible way to tune properties for individual grobs.

Here, the layout of a note head is changed depending on its vertical position.

apply-output.ly

Alternative notation systems using accidentals different from the Western ones set them systematically, for standalone markups and all grobs that print accidentals.

This include file provides a function to draw many accidental in different contexts. It is used by various tests.

arabic-accidental-glyphs.ly

A square bracket on the left indicates that the player should not arpeggiate the chord.

arpeggio-bracket.ly

Arpeggio stays clear of accidentals and flipped note heads.

arpeggio-collision.ly

Arpeggios do not overshoot the highest note head. The first chord in this example simulates overshoot using 'positions for comparison with the correct behavior.

Exceptions are intervals smaller than a third; we ensure to have at least two wiggles (or a wiggle plus an arrow head).

arpeggio-no-overshoot.ly

Arpeggios still work in the absence of a staff-symbol.

arpeggio-no-staff-symbol.ly

There is a variant of the arpeggio sign that uses a ‘vertical slur’ instead of the wiggle.

arpeggio-parenthesis.ly

Cross-staff or -voice arpeggios which include single note heads as anchors do not collide with previous note heads or prefatory material.

arpeggio-span-collision.ly

Span arpeggios that are not cross-staff do not have horizontal spacing problems.

arpeggio-span-one-staff-collision.ly

Span arpeggios within one staff also work

arpeggio-span-one-staff.ly

Arpeggios are supported, both cross-staff and broken single staff.

arpeggio.ly

The snappizzicato articulation adds a snappizzicato sign to the note.

articulation-snappizzicato.ly

Augmentum dots are accounted for in horizontal spacing.

augmentum.ly

Automatic beams do not cross bar lines.

auto-beam-bar.ly

Autobeamer remembers subdivideBeams and other beaming pattern related functions at the start of an autobeam.

auto-beam-beaming-override.ly

Automatic beams are ended early if a breathing sign is encountered.

auto-beam-breathe.ly

beamExceptions is used to modify the automatic beaming for certain durations; the expected grouping is given after the note duration.

auto-beam-exceptions.ly

The autobeamer may be switched off for a single note with \noBeam.

auto-beam-no-beam.ly

Beamable notes do not extend a staff. The staff with the note should end immediately after the note.

auto-beam-ossia.ly

Grace notes at the start of a partial measure do not break autobeaming.

auto-beam-partial-grace.ly

Autobeaming works properly in partial measures.

auto-beam-partial.ly

In 4/4 time, the first and second and third and fourth beats should be beamed together if only eighth notes are involved. If any shorter notes are included, each beat should be beamed separately.

auto-beam-recheck.ly

Automatic beaming is also done on tuplets.

auto-beam-triplet.ly

Tuplet-spanner should not put (visible) brackets on beams even if they’re auto generated.

auto-beam-tuplets.ly

Bar lines are disabled for this test to prove that certain beaming decisions do not depend on them. The notes should be beamed in groups of 2, 6, 6, and 2.

auto-beam-without-bar-lines.ly

Beams are placed automatically; the last measure should have a single beam.

auto-beam.ly

\autoBreaksOff disables automatic line breaks and page breaks. \autoBreaksOn reenables both of them.

auto-breaks.ly

Auto change piano staff switches voices between up and down staves automatically; rests are switched along with the coming note. When central C is reached, staff is not yet switched (by default).

auto-change.ly

\autoLineBreaksOff can be used to turn off automatic line breaking. \autoLineBreaksOn reenables it.

auto-line-breaks.ly

\autoPageBreaksOff turns off automatic page breaking; \autoPageBreaksOn reenables it.

auto-page-breaks.ly

Beaming in 3/4 time has special treatment. By default six eighth notes are beamed in one. Beams that would imply 6/8 time may be avoided with beamHalfMeasure = ##f. When the beaming is changed, beams should start at the beginning of the measure.

autobeam-3-4-rules.ly

\noBeam should terminate an autobeam, even if it’s not a recommended place for stopping a beam. In this example, the first three eighth notes should be beamed.

autobeam-nobeam.ly

Default autobeam settings have been set for a number of time signatures. Each score shows the desired beaming

autobeam-show-defaults.ly

Autobeam rechecking works properly with tuplets. In the example, the first beat should be beamed completely together.

autobeam-tuplet-recheck.ly

This is a regression test for an \autochange scenario reported in issue 6575. The stem of the C should point down.

autochange-after-rest.ly

Other clefs for the autoChanger may be set. This works for implicitly created staves only. The first example should turn at b with soprano-clef in the upper Staff. The second example should turn at d’ with alto-clef in the upper and tenor-clef in the lower Staff.

autochange-clefs.ly

Grace notes are placed on the appropriate staff.

autochange-inside-grace.ly

Music functions that scale durations also scale \autoChange decisions. The four measures should have identical notes.

autochange-inside-scale-durations.ly

\keepWithTag works with \autoChange.

autochange-keep-with-tag.ly

\autoChange needs to be given pitches in their final octaves, so if \relative is used it must be applied inside \autoChange. The pitches in \autoChange are unaffected by an outer \relative, so that the printed output shows the pitches that \autoChange used.

The expected output of this test is three identical measures.

autochange-relative.ly

Other turning points for the autoChanger are possible.

autochange-turning-pitch.ly

Grace notes are placed on the appropriate staff.

autochange-with-grace.ly

The bottom-level contexts in polyphony shorthand are allocated a context id in order of creation, starting with "1". This snippet will fail to compile if either voice has an invalid context-id string.

automatic-polyphony-context-id.ly

In a DrumStaff, automatic polyphony can be used without explicitly initializing separate voices.

automatic-polyphony-drumstaff.ly

In a TabStaff, automatic polyphony can be used without explicitly initializing separate voices.

automatic-polyphony-tabstaff.ly

Exercise all output functions

backend-exercise.ly

The Bärenreiter edition of the Cello Suites is the most beautifully typeset piece of music in our collection of music (we both own one. It is also lovely on French Horn). This piece does not include articulation, but it does follows the same beaming and linebreaking as the printed edition. This is done in order to benchmark the quality of the LilyPond output.

As of lilypond 1.5.42, the spacing and beam quanting is almost identical.

There are two tweaks in this file: a line-break was forced before measure 25, we get back the linebreaking of Bärenreiter. The stem direction is forced in measure 24. The last beam of that measure is up in Bärenreiter because of context. We don’t detect that yet.

Note that the Bärenreiter edition contains a few engraving mistakes. The second line begins with measure 6 (but prints 5). The |: half way in measure 13 has been forgotten.

baerenreiter-sarabande.ly

The alignment of a balloon text can be customized as well as the attachment point of the line connecting it to the frame.

balloon-attachments.ly

Balloons on breakable items are visible if and only if the item they annotate is visible.

balloon-breakable.ly

Balloons work on cross-staff grobs.

balloon-cross-staff.ly

Balloons work on spanners that have no pure height.

balloon-empty-pure-height.ly

Balloons also reserve space vertically when the Balloon_engraver is in Score context.

balloon-engraver-score-spacing.ly

Balloons can be attached to glissandi.

balloon-glissando.ly

Outside-staff positioning correctly takes balloons into account.

balloon-outside-staff.ly

BalloonText supports the spanner-placement property.

balloon-spanner-placement.ly

Balloons on spanners, such as slurs, are supported.

balloon-spanner.ly

The thickness of balloons scales with staff size.

balloon-staff-size.ly

Balloons work on stem tremoli.

balloon-stem-tremolo.ly

Balloons work on beamed stems.

balloon-stem.ly

Stencils are copied before moved for Balloons instead of modified. In the test, the point-stencil in the second system should not inherit the extent from the null-markup in the first and the bar should be much shorter.

balloon-stencil.ly

BalloonText has configurable thickness.

balloon-thickness.ly

Balloons can be attached to voice followers.

balloon-voice-follower.ly

With balloon texts, objects in the output can be marked, with lines and explanatory text added.

balloon.ly

Music between \cadenzaOn and \cadenzaOff does not count toward the length of a measure; however when a cadenza begins at a measure boundary, bar checks during or immediately after the cadenza do produce warnings. This test should run with expected warnings only.

bar-check-after-cadenza-warn.ly

Simultaneous, valid bar checks at the end of volta-style repeat alternatives are not susceptible to false warnings. This test should run without warnings.

bar-check-parallel-alternative-ok.ly

The meaning of | is stored in the identifier "|".

bar-check-redefine.ly

A bar check between two volta-style repeat alternatives which is not aligned with respect to either one produces a warning. This test should run with expected warnings only.

bar-check-submeasure-alternative-warn.ly

Bar line extent can be customised and the customised value must be respected when staff symbol is changed temporarily (e.g. to simulate ledger lines of renaissance prints and manuscripts); moreover, span bars should not enter the staves.

bar-extent.ly

\defineBarLine accepts annotations in the end-of-line glyph name that can be used to distinguish bar lines that should close a volta bracket from those that should not. Bracket 1 should end open and bracket 2 should end closed.

bar-line-allow-volta-hook.ly

Test predefined bar types at the beginning, middle, and end of a line. The types in this group are intended for a caesura at a line break.

bar-line-built-in-caesura-eol.ly

Test predefined bar types at the beginning, middle, and end of a line. The types in this group are intended for use where one repeated section ends and another begins.

bar-line-built-in-double-repeat.ly

Test a spacer bar line at the beginning, middle, and end of a line.

bar-line-built-in-empty.ly

Test predefined bar types at the beginning, middle, and end of a line. The types in this group are intended for use where one repeated section ends, another begins, and there is an in-staff segno.

bar-line-built-in-end-repeat-segno-start-repeat.ly

Test predefined bar types at the beginning, middle, and end of a line. The types in this group are intended for use where a repeated section ends and there is an in-staff segno.

bar-line-built-in-end-repeat-segno.ly

Test predefined bar types at the beginning, middle, and end of a line. The types in this group are intended for use at the end of a repeated section.

bar-line-built-in-end-repeat.ly

Test predefined bar types at the beginning, middle, and end of a line. The types in this group are intended for use at the end of a section.

bar-line-built-in-end-section.ly

Test predefined bar types at the beginning, middle, and end of a line. The types in this group are intended for use where a repeated section begins and there are both a Fine and an in-staff segno.

bar-line-built-in-fine-segno-start-repeat.ly

Test predefined bar types at the beginning, middle, and end of a line. The types in this group are intended for use where there are both a Fine and an in-staff segno.

bar-line-built-in-fine-segno.ly

Test predefined bar types at the beginning, middle, and end of a line. The types in this group are intended for use as measure bar lines.

bar-line-built-in-measure.ly

Test predefined bar types at the beginning, middle, and end of a line. The types in this group are intended for use between sections.

bar-line-built-in-section.ly

Test predefined bar types at the beginning, middle, and end of a line. The types in this group intended for use where a repeated section starts and there is an in-staff segno.

bar-line-built-in-segno-start-repeat.ly

Test predefined bar types at the beginning, middle, and end of a line. The types in this group are intended for use where there is an in-staff segno.

bar-line-built-in-segno.ly

Test predefined bar types at the beginning, middle, and end of a line. The types in this group are intended for use at the start of a repeated section.

bar-line-built-in-start-repeat.ly

Test predefined bar types at the beginning, middle, and end of a line. The types in this group are intended for use at the start of a section.

bar-line-built-in-start-section.ly

When caesuraType is set appropriately, \caesura inserts a double bar line with priority higher than a measure bar line and lower than a section bar line.

These notes should be followed by these bar lines: D, double; E, double; F, double; G, double; A, thick.

bar-line-caesura-double.ly

When caesuraType is set appropriately, \caesura inserts a double bar visible only at line break, with priority less than a measure bar.

These notes should be followed by these bar lines: D, none; E, single; F, dotted; G, single; A, double; B, double.

bar-line-caesura-eol-double.ly

When caesuraType is set appropriately, \caesura inserts a bar line that is visible only at a line break.

These notes should be followed by these bar lines: D, none; E, single; F, double; G, single; A, single; B, single.

bar-line-caesura-eol-single.ly

When caesuraType is set appropriately, \caesura inserts a thick bar line that is visible only at a line break, with priority less than a measure bar.

These notes should be followed by these bar lines: D, none; E, single; F, double; G, single; A, thick; B, thick.

bar-line-caesura-eol-thick.ly

A user-defined empty bar glyph behaves like the built-in empty bar glyph. The horizontal space between notes should be the same in both measures.

bar-line-define-bar-glyph-empty.ly

New bar line glyphs can be defined in Scheme.

bar-line-define-bar-glyph.ly

A user-defined empty bar line with an annotation in the name behaves like the built-in empty bar line. The horizontal space between notes should be the same in both measures.

bar-line-define-bar-line-empty.ly

New bar line styles can be defined by \defineBarLine.

bar-line-define-bar-line.ly

Where \fine and \inStaffSegno occur together, user-defined bar lines can be printed by setting the fineSegnoBarType, fineStartRepeatSegnoBarType, endRepeatSegnoBarType, and doubleRepeatSegnoBarType context properties.

The output should show two adjacent repeated sections with doubled dots and thick bar lines, followed by a double thick bar line without dots. There should also be an in-staff segno in every case.

bar-line-define-fine-v-repeat-segno.ly

At \fine without \inStaffSegno, user-defined bar lines can be printed by setting the fineBarType, startRepeatBarType, endRepeatBarType, and doubleRepeatBarType context properties.

The output should show two adjacent repeated sections with doubled dots and thick bar lines, followed by a double thick bar line without dots.

bar-line-define-fine-v-repeat.ly

Customizing measureBarType is effective when appropriate bar lines are defined. The system should end with a single thick bar line with a dashed span.

bar-line-define-measure.ly

User-defined bar lines with in-staff segni can be printed by setting the segnoBarType, startRepeatSegnoBarType, endRepeatSegnoBarType, and doubleRepeatSegnoBarType context properties.

The output should show two adjacent repeated sections with unusually ornate bar lines with in-staff segni, followed by an in-staff segno that is flanked by thick bar lines.

bar-line-define-repeat-segno.ly

User-defined bar lines can be printed for \repeat volta by setting the startRepeatBarType, endRepeatBarType, and doubleRepeatBarType context properties.

This output should show two adjacent repeated sections with unusually ornate bar lines.

bar-line-define-repeat.ly

Customizing sectionBarType is effective when appropriate bar lines are defined. The system should end with a double bar line with a thick span.

bar-line-define-section.ly

Customizing underlyingRepeatBarType is effective when appropriate bar lines are defined. The first system should end with a single thick bar line with a dashed span.

bar-line-define-underlying-repeat.ly

A final volta bracket closes at \fine.

bar-line-fine-volta-hook.ly

\bar can override repeat bar lines. The first system should end with no bar line. The second system should begin with no bar line and end with a measure bar line.

bar-line-manual-v-repeat.ly

The markup command \bar-line scales nicely with different \fontsize. It is customizable by overriding height, dot-count, dash-count, kern or thick-thickness. The brace bar line sometimes emits a warning, if none exactly fitting can be found (this warning is not silenced here).

bar-line-markup.ly

An omitted bar line behaves like an empty bar line. The horizontal space between notes should be the same in both measures.

bar-line-omit.ly

This test shows the placement of the two-dot bar line element in various staff configurations.

bar-line-placement-colon.ly

The dashed bar line scales with different staff space, entered with layout-set-staff-size.

bar-line-placement-dashed-layout-staff-space.ly

The dashed bar line scales with different staff space, entered with \magnifyStaff.

bar-line-placement-dashed-magnify-staff-space.ly

This test shows the placement of dashed bar lines with span bars in various staff configurations and changed staff space via layout-set-staff-size.

bar-line-placement-dashed-span-layout-staff-space.ly

This test shows the placement of dashed bar lines with span bars in various staff configurations and changed staff space via \magnifyStaff.

bar-line-placement-dashed-span-magnify-staff-space.ly

This test shows the placement of dashed bar lines with span bars in various staff configurations and changed staff space via \override StaffSymbol.staff-space.

bar-line-placement-dashed-span-staff-space.ly

This test shows the placement of dashed bar lines with span bars in various staff configurations.

bar-line-placement-dashed-span.ly

The dashed bar line scales with different staff space, entered with \override StaffSymbol.staff-space.

bar-line-placement-dashed-staff-space.ly

A dashed bar line extends approximately as far as a normal bar line. The center-to-center distance between dashes is uniformly one staff space. At the vertical center of the staff is either a dash or the midpoint between dashes.

bar-line-placement-dashed.ly

The dotted bar line never exceeds a common bar line. This holds for different staff space, caused by layout-set-staff-size as well.

bar-line-placement-dotted-layout-staff-space.ly

The dotted bar line never exceeds a common bar line. This holds for different staff space, caused by \magnifyStaff as well.

bar-line-placement-dotted-magnify-staff-space.ly

The center-to-center distance between the dots in a dotted span bar line is approximately one staff space, taken from layout (not from the staff symbol). The dots of the span bar do not collide with staff lines or with the dots of in-staff bar lines. They never exceed the extent of the span bar (made visible by the thick span bar line). This holds for different staff space, caused by layout-set-staff-size as well.

bar-line-placement-dotted-span-layout-staff-space.ly

The center-to-center distance between the dots in a dotted span bar line is approximately one staff space, taken from layout (not from the staff symbol). The dots of the span bar do not collide with staff lines or with the dots of in-staff bar lines. They never exceed the extent of the span bar (made visible by the thick span bar line). This holds for different staff space, caused by \magnifyStaff as well.

bar-line-placement-dotted-span-magnify-staff-space.ly

The center-to-center distance between the dots in a dotted span bar line is approximately one staff space, taken from layout (not from the staff symbol). The dots of the span bar do not collide with staff lines or with the dots of in-staff bar lines. They never exceed the extent of the span bar (made visible by the thick span bar line). This holds for different staff space, caused by \override StaffSymbol.staff-space as well.

bar-line-placement-dotted-span-staff-space.ly

The center-to-center distance between the dots in a dotted span bar line is uniformly one staff space. The dots of the span bar do not collide with staff lines or with the dots of in-staff bar lines.

bar-line-placement-dotted-span.ly

The dotted bar line never exceeds a common bar line. This holds for different staff space, entered with \override StaffSymbol.staff-space as well.

bar-line-placement-dotted-staff-space.ly

The center-to-center distance between the dots in a dotted bar line is uniformly one staff space. At the vertical center of the staff is either a dot or the midpoint between dots, whichever places fewer dots on staff lines. The dotted bar line never exceeds a common bar line.

bar-line-placement-dotted.ly

The height of a short bar line is half the height of a normal bar line, rounded up to an integer number of staff spaces. It is usually centered vertically, but on very short staves, it is shifted down to distinguish it from a normal bar line.

bar-line-placement-short.ly

A tick bar line is a short line the length of a staff space. It is usually centered on the topmost bar line, but if there are fewer than two bar lines, it floats at the height of a normal bar line.

bar-line-placement-tick.ly

If different BarLine types are used at the same musical moment, setting BarLine.right-justified to #t right-aligns them. For a mid-line and right-aligned BarLine the anchor moves accordingly. At begin of line, BarLine is never right-aligned.

bar-line-right-justified.ly

\section creates a section bar line whether or not it is aligned on a measure boundary, except at the start of the piece. This test should show a double bar line after each of the three notes.

bar-line-section.ly

This test exercises bar lines that are overridden in various built-in Staff contexts. Each Staff is in a separate \score.

bar-line-staff-override-alone.ly

This test exercises bar lines that are overridden in various built-in Staff contexts. All staves are in one StaffGroup.

bar-line-staff-override-grouped.ly

Dashed and dotted bar lines print nicely with small values of set-global-staff-size and layout-set-staff-size.

bar-line-staff-size.ly

Bar lines account for user tweaks to staff symbol height.

bar-line-staff-symbol-height-override.ly

The hair-thickness property sets the thickness of thin bar lines, the thick-thickness property sets the thickness of thick bar lines, and the kern property sets the spacing within composite bar lines.

bar-line-thickness.ly

Automatic bar types that are set to '() or are unset are ignored, allowing lower-priority bar types to appear. In this case, there should be no line breaks and a single thick bar line should appear at the end under a segno.

bar-line-unset.ly

Various types of bar lines can be drawn.

The dashes in a dashed bar line covers staff lines exactly. Dashed bar lines between staves start and end on a half dash precisely.

The dots in a dotted bar line are in spaces.

A thick bar line is created by \bar ".", which is consistent with e.g. \bar "|."

A tick bar line is a short line of the same length as a staff space, centered on the top-most bar line.

A short bar line has a height of half the height of the staff, rounded up to an integer number of staff spaces. It is usually centered vertically, but on short staves, it is shifted down to distinguish it from a normal bar line.

bar-lines.ly

Each staff contains the same music, but with different values of alternativeNumberingStyle. The body of the repeat is a cadenza. The bar number at the start of each alternative should be parenthesized.

bar-number-after-alternative-restore-cadenza.ly

Each staff contains the same music, but with different values of alternativeNumberingStyle. The body of the repeat is a grace note. The bar number at the start of each alternative should be parenthesized.

bar-number-after-alternative-restore-grace.ly

In a measure beginning with grace notes and cadenza material, if a bar line is added at the end of the cadenza, its bar number is parenthesized even though the cadenza does not advance measurePosition.

The first staff tests this at the start of the first and following measures of a piece. The second staff tests this before an initial anacrusis.

bar-number-after-cadenza-with-grace.ly

In a measure beginning with cadenza material, if a bar line is added at the end of the cadenza, its bar number is parenthesized even though the cadenza does not advance measurePosition.

The first staff tests this at the start of the first and following measures of a piece. The second staff tests this before an initial anacrusis.

bar-number-after-cadenza.ly

The alternativeNumberingStyle context property controls the bar-numbering scheme and style in volta repeat alternatives.

bar-number-alternative-style.ly

Alignments for breakable items can have different values set for each break direction using the break-alignment-list function.

bar-number-break-alignment-list.ly

\barNumberCheck may be inserted to check whether the current bar number is correct. Checking is enabled by default for layout and disabled by default for MIDI.

bar-number-check-warning.ly

When there is a break without a bar line, a bar number can be printed nevertheless. Just like all bar numbers outside of measure boundaries, it is hidden by default, but it can be displayed using barNumberVisibility. On the other hand, a bar number resulting from a break point is not displayed if the break point does not become a break.

bar-number-no-bar-line.ly

oBreak does not prevent bar numbers from being printed.

bar-number-nobreak.ly

Alternative bar numbering does not apply to repeats in segno form. These measures should be numbered 1 to 3.

bar-number-segno-repeat.ly

Bar_number_engraver may be moved to staff-group contexts. Bar numbers should appear in black above the second staff from the top. The same numbers should appear in red above the third staff from the top.

bar-number-staff-group-context.ly

all-bar-numbers-visible is a bar number visibility where all bar numbers are printed, including bar numbers for the first measure and for broken measures.

bar-number-visibility-all-bar-numbers-visible.ly

every-nth-bar-number-visible is a bar number visibility generator that prints bar numbers at regular intervals of n: n, 2n, etc.

bar-number-visibility-every-nth-bar-number-visible.ly

first-bar-number-invisible-and-no-parenthesized-bar-numbers is a bar number visibility where bar numbers are printed except for the first, and except for broken measures.

bar-number-visibility-first-bar-number-invisible-and-no-parenthesized-bar-numbers.ly

first-bar-number-invisible-save-broken-bars is a bar number visibility that prints all bar numbers, including for broken bars, except for an unbroken number of the first bar.

bar-number-visibility-first-bar-number-invisible-save-broken-bars.ly

first-bar-number-invisible is a bar number visibility where all bar numbers can be printed, including for broken bars, except for the first measure, not even when broken.

bar-number-visibility-first-bar-number-invisible.ly

modulo-bar-number-visible is a bar number visibility generator that generalizes every-nth-bar-number-visible, printing bar numbers at regular intervals of n that do not necessarily start at n: k, k + n, k + 2n, etc.

bar-number-visibility-modulo-bar-number-visible.ly

numbers-with-letters bar numbering resets at the end of the repeat even if the repeat ends where no bar number is visible.

bar-number-volta-repeat-end.ly

Bar numbers can automatically reset at volta repeats.

bar-number-volta-repeat.ly

Bar numbers may be set and their padding adjusted individually. The counting of bar numbers is started after the anacrusis.

To prevent clashes at the beginning of a line, the padding may have to be increased.

bar-number.ly

A knee is made automatically when a horizontal beam fits in a gap between note heads that is larger than a predefined threshold.

beam-auto-knee.ly

There are presets for the auto-beam engraver in the case of common time signatures.

beam-auto.ly

beamlets don’t run to end of line if there are no other beamlets on the same height.

beam-beamlet-break.ly

Beamlets in grace notes remain readable.

beam-beamlet-grace.ly

Default beaming patterns can be set for the current time signature.

beam-beat-grouping.ly

Broken beams have sane endings even if grobs are not present at the broken end.

beam-break-no-bar.ly

Beams can be printed across line breaks, if forced.

beam-break.ly

Some classic examples of broken beams, all taken from Scriabin Op. 11, No. 1.

beam-broken-classic.ly

The functions passed to the positions property should handle complicated cases in the same manner that they handle more normal cases.

beam-broken-difficult.ly

Simple beams on middle staffline are allowed to be slightly sloped, even if the notes have ledgers. Beams reaching beyond middle line can have bigger slope.

beam-center-slope.ly

Beams only check for collisions with in-line accidentals.

beam-collision-accidentals.ly

Collisions between manual beams and notes are minimized.

beam-collision-basic.ly

Manual beams do not collide with notes.

beam-collision-beamcount.ly

Beam collisions from modern works

beam-collision-classic.ly

cross staff beams work with collisions.

beam-collision-cross-staff.ly

Cross staff beams do collision avoidance.

beam-collision-cross-staff2.ly

A rough guess for collisions is taken into account when choosing initial beam configurations; the initial position may be chosen to be either above or below large collisions.

beam-collision-feasible-region.ly

Beams do not collide with flags.

beam-collision-flag.ly

The beaming algorithm handles collisions between beams and grace notes too.

beam-collision-grace.ly

Behave sensibly in the presence of large collisions.

beam-collision-large-object.ly

Beams can be allowed to collide with grobs by overriding the collision-interfaces property.

beam-collision-off.ly

Meshing stems in oppositely directed beams are handled correctly.

beam-collision-opposite-stem.ly

Beams do not collide with clefs, key signatures, time signatures

beam-collision-prefatory-matter.ly

Beam collisions are resistant to scaled down staves.

beam-collision-scaled-staff.ly

Beam collision can be tweaked to only apply to the grobs within the beam’s original voice.

beam-collision-voice-only.ly

Concave beaming works for chords as well as monophonic music.

beam-concave-chord.ly

Beams that are not strictly concave are damped according to their concaveness.

beam-concave-damped.ly

Fully concave beams should be horizontal. Informally spoken, concave refers to the shape of the notes that are opposite a beam. If an up-beam has high notes on its center stems, then we call it concave.

If a beam fails a test, the desired slope is printed next to it.

beam-concave.ly

Automatic cross-staff knees work also (here they were produced with explicit staff switches).

beam-cross-staff-auto-knee.ly

Placement of beamed cross staff rests should be reasonably close to beam.

beam-cross-staff-rest.ly

scripts don’t trigger beam formatting. If this does happen, we can have a cyclic dependency on Y-positions of staves.

beam-cross-staff-script.ly

Cross staff (kneed) beams do not cause extreme slopes.

beam-cross-staff-slope.ly

Beams can be typeset over fixed distance aligned staves, beam beautification does not really work, but knees do. Beams should be behave well, wherever the switching point is.

beam-cross-staff.ly

Beams are less steep than the notes they encompass.

beam-damp.ly

Beamed stems have standard lengths if possible. Quantization is switched off in this example.

beam-default-lengths.ly

Beams should behave reasonably well, even under extreme circumstances. Stems may be short, but noteheads should never touch the beam. Note that under normal circumstances, these beams would get knees. Here Beam.auto-knee-gap was set to false.

beam-extreme.ly

Feathered beams should have the same progress of their feathering at the end of a line break as they do at the beginning of the next line.

beam-feather-breaking.ly

In feathered beams, stems in knees reach up to the feathered part correctly.

beam-feather-knee-stem-length.ly

Specifying grow-direction on a beam, will cause feathered beaming. The \featherDurations function can be used to adjust note durations.

beam-feather.ly

Even very flat but slanted patterns should give slanted beams.

beam-flat-retain-direction.ly

The direction of manual beams can be forced using _ and ^.

beam-forced-direction.ly

In French style beaming, the stems do not go between beams.

beam-french.ly

Funky kneed beams with beamlets also work. The beamlets should be pointing to the note head.

beam-funky-beamlet.ly

In complex configurations of knee beaming, according to Paul Roberts, the first stem of a beam determines the direction of the beam, and as such the way that following (kneed) stems attach to the beam. This is in disagreement with the current algorithm.

beam-funky.ly

Setting Timing.measureLength to infinity does not interfere with beaming grace notes.

beam-grace-infinite-measure-length.ly

A run of grace notes beginning with a tuplet is beamed and bracketed accordingly. The first three grace notes are a triplet with two beams. The last grace note is connected to them by one beam.

beam-grace-tuplet-bounds.ly

Beams can be placed across a PianoStaff.

beam-isknee.ly

Many complex knee beams that test peculiar edge cases (such as subdivision or # of beams changes by ≥ 2).

beam-knee-advanced.ly

Kneed beams of strictly monotone subdivisions should have their ’main beam’ be in the middle (outer beamlets of both sides converge to/diverge from middle)

beam-knee-different-levels.ly

Examples of kneed beams of varying complexity (based on how stem direction changes within a subdivision) all copied from pgs. 316-317 of Gould’s Behind Bars.

beam-knee-gould.ly

Kneed beams together with stemlets over rests work.

beam-knee-stemlet.ly

Point-symmetric beams should receive the same quanting. There is no up/down bias in the quanting code.

beam-knee-symmetry.ly

Beams should look the same.

beam-length.ly

Beaming can be overidden for individual stems.

beam-manual-beaming.ly

Kneed beams (often happens with cross-staff beams) should look good when there are multiple beams: all the beams should go on continuously at the staff change. Stems in both staves reach up to the last beam.

beam-multiple-cross-staff.ly

When a beam goes over a rest, beamlets should be as necessary to show the beat structure.

beam-multiplicity-over-rests.ly

Beams may overshoot stems. This is also controlled with break-overshoot.

beam-outside-beamlets.ly

Explicit beams may cross bar lines.

beam-over-barline.ly

Beams on ledgered notes 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 no-stem-extend.

beam-position.ly

This file tests a few standard beam quants, taken from Ted Ross’ book. If LilyPond finds another quant, the correct quant is printed over the beam.

beam-quant-standard.ly

Stem lengths take precedence over beam quants: ‘forbidden’ quants are only avoided for 32nd beams when they are outside of the staff. However, that leads to very long stems, which is even worse.

beam-quanting-32nd.ly

In this test for beam quant positions for horizontal beams, staff lines should be covered in all cases. For 32nd beams, the free stem lengths are between 2 and 1.5.

beam-quanting-horizontal.ly

Beam quanting accounts for beam overhang. A beam ending above rests should always fall on a viable quant (straddle, sit, inter, or hang).

beam-quanting-overhang.ly

Quarter notes may be beamed: the beam is halted momentarily.

beam-quarter.ly

Beamed rests are given a pure height approximation that gets their spacing correct in the majority of circumstances.

beam-rest-extreme.ly

The number of beams does not change on a rest.

beam-rest.ly

Engraving second intervals is tricky. We used to have problems with seconds being too steep, or getting too long stems. In a file like this, showing seconds, you’ll spot something fishy very quickly.

beam-second.ly

Beams in unnatural direction, have shortened stems, but do not look too short.

beam-shortened-lengths.ly

Single stem beams are also allowed. For such beams, clip-edges is switched off automatically.

beam-single-stem.ly

Beams over skips do not cause a segfault.

beam-skip.ly

For slope calculations, stemlets are treated as invisible stems.

beam-slope-stemlet.ly

Beam positioning and placement of articulations, fingerings, tuplet numbers, and slurs must be identical in standard and French beaming style.

beam-standard-french-compare.ly

Beams should subdivided as if there was no tuplet to consider in this particular case

beam-subdivide-cancelling-tuplets.ly

Even under unusual measure lengths, beam subdivision should not defect

beam-subdivide-compound-meter.ly

When subdividing tuplet ratios whose numerators are powers of 2, the beamlet removal depth of each subdivision should vary by the same level different, dependending on the tuplet ratio magnitude

beam-subdivide-duplets.ly

Beam count at subdivisions should match the count corresponding to the location of the current subdivision. However, if the remainder of the beam is shorter than that and incomplete beams are respected, the beam count should be adopted accordingly.

beam-subdivide-incomplete-beam.ly

When maximumBeamSubdivisionInterval < minimumBeamSubdivisionInterval, the subdivision depth should respect the limit imposed by maximumBeamSubdivisionInterval even if it is not metrically correct.

beam-subdivide-max-limit.ly

A triplet of any level should clearly subdivide its 3 beats at its topmost level, and any subdivisions (of powers of  2) of those beats should be at their own level strictly lower than said topmost level.

beam-subdivide-nested-triplets.ly

The default subdivision of a pentadecuplet should be none as the hamming weight of the denominator is more than 1.

beam-subdivide-pentadecuplet.ly

Beam count at subdivisions should match the location of the current subdivision. However, if the groups are equal or longer than quarter notes, one beam should always be left.

beam-subdivide-quarter-notes.ly

At position 1/8, the beam should be subdivided at the 1/16 level due to the time signature

beam-subdivide-three-numerator-meter.ly

If in a subdivided beam one single stem follows a subdivision the beam count should reflect the beam count of the subdivision as usual. That is, the beam count should not be increased according to the remaining length of the beam. The appended single stem has beamlets to the left.

beam-subdivide-trailing-stem.ly

Even though their tuplet ratios are the same when simplified each additional power of 2 in the tuplet numerator subdivides an additional half

beam-subdivide-triplet-variants.ly

Stems at boundaries of tuplet spans must have one side subdivided from a perspective outside of said tuplet span

beam-subdivide-tuplet-boundaries.ly

Beamed grace notes within a tuplet should be subdivided independently from the tuplet. Each of the 3 beams of the second tuplet, where beam subdivision is enabled, should have 2 subdivisions at 16th level, 1 subdivision at 8th level.

beam-subdivide-tuplet-grace.ly

Tuplets that span more than one beat should be subdivided if subdivideBeams is #t. In this example, the beams should be subdivided every 1/8.

beam-subdivide-tuplets.ly

Properties maximumBeamSubdivisionInterval and minimumBeamSubdivision may have a non-power of 2 numerator. If maximumBeamSubdivisionInterval does have non-power-of-2  numerator, let n be the largest odd factor of that numerator. The beamlets should be subdivided n times less frequently than as if n was 1. Since minimumBeamSubdivisionInterval only sets a lower bound for intervals of subdivision interval, it having a non-power-of-2 numerator is not much any different from an approriate power-of-2 counterpart.

beam-subdivide-unusual-subdivision-intervals.ly

Beam count at subdivisions should match the location of the current subdivision.

beam-subdivision.ly

By setting max-beam-connect, it is possible to create pairs of unconnected beamlets.

beam-unconnected-beamlets.ly

An unterminated manual beam generates a warning. This test should run with expected warnings only.

beam-unterminated.ly

Inside-staff beams should align with staff lines (sit, straddle, hang) as smoothly as possible (standard-sized beams). The outside-staff beams do not interfere with staff lines, so the inside-staff beams are more important when it comes to beam quanting/scoring/positioning.

beaming-more-than-4-beams-normal-size.ly

Automatic beaming works also in ternary time sigs. As desired, the measure is split in half, with beats 1-3 and 4-6 beamed together as a whole.

beaming-ternary-metrum.ly

Beams in a completed tuplet should be continuous.

beaming-tuplet-regular.ly

Beaming is generated automatically. Beams may cross bar lines. In that case, line breaks are forbidden.

beaming.ly

Beamlets can be set to point in the direction of the beat to which they belong. The first beam avoids sticking out flags (the default); the second beam strictly follows the beat.

beamlet-point-toward-beat.ly

Beamlets should point away from complete beat units and toward off-beat or broken beat units. This should work in tuplets as well as in ordinary time.

beamlet-test.ly

Beaming can be also given explicitly.

beams.ly

Show the effect of the Beat_performer on drum tremolos: start of the bar and its beats are marked by \marcato and \accent, respectively, unless manual syncopes in less distance than the last ‘regular’ beat precede, indicated with one of those two articulations explicitly.

beat-performer.ly

Falls and doits terminate correctly on the next note, even when started inside a \grace.

bend-after-start-in-grace.ly

Falls and doits can be created with \bendAfter. They run to the next note, or to the next bar line. Microtone bends like \bendAfter 3.5 are also supported.

bend-after.ly

Bends should not be affected by the full width of a NonMusicalPaperColumn. The bends should have identical X spans in the two scores. No bends should cross bar lines.

bend-bound.ly

Bends avoid dots, but only if necessary.

bend-dot.ly

Multiple consecutive BendSpanner grobs work. Every BendSpanner following another one starts at the arrow head of the previous one or at a TabNoteHead.

bend-spanner-consecutive.ly

A BendSpanner may be customized by tweaking the subproperties of 'details.

• 'bend-arrowhead-height
• 'bend-arrowhead-width
• 'arrow-stencil best to override it with a procedure (as an argument to the after-line-breaking property) setting this subproperty.
• 'curvature-factor
• 'bend-amount-strings
• 'dashed-line-settings
• 'horizontal-left-padding
• 'vertical-padding
• 'y-distance-from-tabstaff-to-arrow-tip
• 'target-visibility

Line-breaking behavior may be customized with:

• 'curve-x-padding-line-end
• 'curve-y-padding-line-end
• 'head-text-break-visibility

bend-spanner-details.ly

Per default notes played on open strings are disregarded by BendSpanner unless the property 'bend-me is set to true for this note. Other notes may be excluded by setting the property 'bend-me to false.

bend-spanner-exclude-notes.ly

At a line break the BendSpanner avoids changed TimeSignature, KeySignature, KeyCancellation and Clef in other staves.

bend-spanner-line-break.ly

A BendSpanner prints a line and/or curve to a certain point above the TabStaff or above the target TabNoteHead. This line or curve ends in an arrow head. For an up-pointing BendSpanner the amount of bending is printed above the arrow head. For a down-pointing BendSpanner the target TabNoteHead will be parenthesized. Works at line breaks.

bend-spanner-simple.ly

BendSpanner scales according to different staff sizes.

bend-spanner-staff-size.ly

BendSpanner can be used in different styles: the default, 'hold, printing a dashed line (only useful in combination with a previous BendSpanner), 'pre-bend, printing a vertical line, and 'pre-bend-hold, printing a vertical line continued by a dashed horizontal line.

The 'style property may be set using \tweak, \override or one of \bendHold, \preBend and \preBendHold.

bend-spanner-styles.ly

BendSpanner may be started at a tied note. To skip tied notes NoteColumn.bend-me should be set to false. The following BendSpanner continues without a gap.

bend-spanner-tied-notes.ly

This input file contains a UTF-8 BOM not at the very beginning, but on the first line after the first byte. LilyPond should gracefully ignore this BOM as specified in RFC 3629, but print a warning.

bom-mark.ly

Changing global-staff-size between consecutive \books must not impair font spacing. While the Pango fonts stay the same and may be re-used, the internal LilyPond scaling factor will not be correct any more. Not only \abs-fontsize, but even \fontsize (in extreme cases) will be affected. The following output shows a 10pt book after a standard 20pt book:

book-change-global-staffsize-abs-fonts.ly

A \book or \bookpart identifier can contain top-level markup and page-markers.

book-identifier-markup.ly

A book(part) can contain only a label without causing a segfault.

book-label-no-segfault.ly

It is possible for one bookpart to have its independent page numbers while the others have a common sequence of page numbers.

bookpart-level-page-numbering-one-bookpart.ly

Pages can be numbered per bookpart rather than per book.

bookpart-level-page-numbering.ly

bookpart-variable.ly

A book can be split into several parts with different paper settings, using \bookpart.

Fonts are loaded into the top-level paper. Page labels are also collected into the top-level paper.

bookparts.ly

The default callback for break-align-anchor in clefs and time/key signatures reads the break-align-anchor-aligment property to align the anchor to the extent of the break-aligned grob.

break-alignment-anchor-alignment.ly

In this case, the compound time signature has a CENTER (0) anchor point and the 1/1 time signature has a LEFT (1) anchor point. The midpoint of these is 0.75, but it is not used for the “average” anchor point of the group because it would fall outside the range of anchor points that the isolated time signatures would choose. Instead, the average anchor point is the closer extreme of that range, which is the center of the compound time signature. The arrow should point there.

break-alignment-anchor-average-clamp.ly

The “average” anchor of a diverse group of break-aligned items depends on the range of the particular anchors, but not on the number of items. In this case, the arrows should appear at the same horizontal position in both measures though the 1/1 time signature appears twice in one measure and only once in the next.

break-alignment-anchor-average-midpoint.ly

When a group of break-aligned items agree on the position of their own anchors with respect to their own extents, the “average” anchor of the group falls at that position with respect to the extent of the group. In this case, each rehearsal mark should point to the stated point relative to the compound time signature.

break-alignment-anchor-average-unanimous.ly

The break-align-anchor property of a break-aligned grob gives the horizontal offset at which other grobs should attach.

break-alignment-anchors.ly

A Dynamics context over a Staff does not impact the spacing of bar numbers relative to the staff at a line break. Bar number 2 should appear in its usual spot.

break-alignment-dynamics-over-staff.ly

\break forces a break, even in circumstances where LilyPond would normally not allow a break.

break-bypass-default-break-points.ly

A clef is printed at a break, even without a bar line.

break-no-bar-clef.ly

A key signature is printed at a break, even without a bar line.

break-no-bar-key.ly

Breaks can be encouraged and discouraged using \break and \noBreak.

break.ly

The breathMarkType context property controls the sign that \breathe produces. The output should show two default breathing signs then two tick marks (check marks).

breath-mark-type.ly

Breathing signs do not collide with accidentals.

breathing-sign-accidentals.ly

Gregorian chant notation sometimes also uses commas and ticks, but in smaller font size (we call it ‘virgula’ and ‘caesura’). However, the most common breathing signs are divisio minima/maior/maxima and finalis, the latter three looking similar to bar glyphs.

breathing-sign-ancient.ly

Breathing signs are positioned correctly on custom staves which use line-positions.

breathing-sign-custom-staff.ly

Breathing signs do not collide with note heads even in very constrained spacing situations.

breathing-sign-tight-spacing.ly

This test shows the predefined values available for context properties that specify a type of BreathingSign. The dotted lines are bar lines.

breathing-sign-types-one-voice.ly

Breathing signs are available in different tastes: commas (default), ticks, vees and ‘railroad tracks’ (caesura).

breathing-sign.ly

LilyPond knows that breves and longas are wider than whole notes (because of vertical lines on their sides). Breves and longas don’t collide with accidentals, bar lines, neighbor notes, etc. The distance between accidental and note is the same for whole notes, breves and longas.

breve-extent.ly

A grace note after \cadenzaOff does not keep autobeaming from resuming properly.

cadenza-grace-autobeam.ly

Caesura scripts can align to breath marks in some staves and to bar lines in others. The output should have one staff with a fermata over ‘railroad tracks’. The other staves should have a fermata over a comma at bar lines, and the scripts should align to the bar lines individually.

caesura-alignment-multiple.ly

Articulations following \caesura are stacked according to the same priorities as articulations following notes. These articulations should look the same though the input order is different each time.

caesura-articulation-multiple.ly

In staff groups where span bar lines are engraved, caesura marks aligned on bar lines appear outside the extremal staves only, even at points where no span bar is visible.

The top PianoStaff should not have fermatas between the staves where the other PianoStaff and ChoirStaffs do.

caesura-over-span-bar-line.ly

A caesura script is automatically shifted up to avoid colliding with a tall bar line.

caesura-over-tall-bar-line.ly

Context modifications can make \caesura appear as a stack of scripts. In this case, the caesura itself is engraved as a fermata over a comma, and a double-dot fermata is added as an articulation. The final caesura is colored red with \tweak … \caesura …, which affects both the fermata and the comma, but not the additional articulation.

caesura-script-multiple.ly

This test customization of \caesura. In mid measure, the caesura appears as a comma outside the staff. At a bar line, no caesura mark appears, but optional articulations still appear.

caesura-style-comma-not-at-bar-line.ly

This test customization of \caesura. In mid measure, the caesura appears as a comma outside the staff. At a bar line it appears as a fermata.

caesura-style-comma-or-fermata.ly

Context modifications can make \caesura appear as a comma outside the staff. In this case, when the caesura comes at a measure boundary, the comma is aligned over the bar line rather than like a breath mark.

caesura-style-comma-over-bar-line.ly

Context modifications can make \caesura appear as a comma outside the staff. In this case, all commas are horizontally aligned like breath marks, even when the caesura comes at a measure boundary.

caesura-style-comma.ly

This test shows the default caesura mark style.

caesura-style-default.ly

This test customization of \caesura. In mid measure, the caesura appears as ‘railroad tracks’. At a bar line it appears as a fermata.

caesura-style-straight-or-fermata.ly

Long titles should be properly centered.

center-title.ly

Centered bar numbers may be altered according to alternatives just like regular bar numbers.

centered-bar-numbers-alternative.ly

The centering of measure-centered bar numbers does not take prefatory material (such as clefs and time signatures) into account in the extent of the measure. This may be overridden by the user.

centered-bar-numbers-centering.ly

Measure-centered bar numbers may be placed beneath the staves.

centered-bar-numbers-down.ly

Centered bar numbers may be boxed or circled. Their appearance can be changed through properties of the text-interface.

centered-bar-numbers-formatting.ly

Test the stacking of measure-centered bar numbers with other objects.

centered-bar-numbers-priority.ly

self-alignment-X can be overridden on centered bar numbers.

centered-bar-numbers-self-alignment-X.ly

Centered bar numbers honor the barNumberVisibility context property.

centered-bar-numbers-visibility.ly

Bar numbers may be centered within their measure.

centered-bar-numbers.ly

In ChoirStaff contexts, dynamics are allowed to cross columns.

choirstaff-dynamics-spacing.ly

Chords containing unisons or seconds: Center articulation marks, dynamics, slurs, etc., on the notehead that is on the “correct” side of the stem.

chord-X-align-on-main-noteheads.ly

The prefix of additional chord pitches can be tuned with additionalPitchPrefix.

chord-additional-pitch-prefix.ly

Chord change detection in repeat alternatives happens in relation to the chord active at the beginning of the first alternative.

chord-changes-alternative.ly

Property chordChanges: display chord names only when there’s a change in the chords scheme, but always display the chord name after a line break.

chord-changes.ly

The column of dots on a chord is limited to the height of the chord plus chord-dots-limit staff-positions.

chord-dots.ly

Contexts can be created in parallel with ChordGrid by instantiating a ChordGridScore explicitly.

chord-grid-additional-contexts.ly

In chord grids, lines inside squares attach to the innermost line of the bar line.

chord-grid-bar-line-attachment.ly

Various kinds of marks can be used within ChordGrid contexts.

chord-grid-marks.ly

In chord grids, the \medianChordGridStyle command causes measures split in 4 equal parts to be printed with median rather than diagonal lines. This is the style recommended in Philippe Baudoin’s book Jazz, mode d’emploi.

chord-grid-median-style.ly

Individual chords can be parenthesized in chord grids.

chord-grid-parentheses.ly

Repeat notation can be used in chord grids.

For volta repeats, a repeat bar line is printed even at the beginning of the piece. Inner lines in the chord square should stop at the ‘|’ part of the ‘.|:’ bar line, not at ‘:’.

chord-grid-repeats.ly

Chord grids can contain rests. This causes the noChordSymbol to be printed.

chord-grid-rests.ly

Chord grids may contain skips. They cause a blank space in chord squares.

chord-grid-skips.ly

Chord grids are properly scaled with staff size.

chord-grid-staff-sizes.ly

\stopStaff and \startStaff can be used in chord grids.

chord-grid-stopstaff.ly

Within chord grids, an unterminated measure should be handled gracefully.

chord-grid-unterminated-measure.ly

The ChordGrid context creates chord grid notation.

chord-grid.ly

The 11 is only added to major-13 if it is mentioned explicitly.

chord-name-11-entry.ly

Chords can be produced with the chordname entry code (\chordmode mode), using a pitch and a suffix. Here, the suffixes are printed below pitches.

chord-name-entry.ly

The property chordNameExceptions can used to store a list of special notations for specific chords.

chord-name-exceptions.ly

The layout of the major 7 can be tuned with majorSevenSymbol. It does not break if majorSevenSymbol is unset. One should see: triangle - j7 - triangle - #7.

chord-name-major7.ly

The layout of the minor chord can be tuned with minorChordModifier.

chord-name-minor.ly

Users can override the text property of ChordName.

chord-name-override-text.ly

In ignatzek inversions, a note is dropped down to act as the bass note of the chord. Bass note may be also added explicitly. Above the staff: computed chord names. Below staff: entered chord name.

chord-names-bass.ly

GrandStaff contexts accept chord names. The chord name in this example should be printed above the top staff.

chord-names-in-grand-staff.ly

The english naming of chords (default) can be changed to german (\germanChords replaces B and Bes to H and B), semi-german (\semiGermanChords replaces B and Bes to H and Bb), italian (\italianChords uses Do Re Mi Fa Sol La Si), or french (\frenchChords replaces Re to Ré).

chord-names-languages.ly

Minor chords may be printed as lowercase letters, in which case the ‘m’ suffix is omitted in the output.

chord-names-lower-case-minor.ly

In ChordNames, both normal rests and multi-measure rests cause noChordSymbol to be printed. Skips do not print anything.

chord-names-rests.ly

The Span_bar_stub_engraver also works with ChordNames contexts, ensuring that chord names remain clear of span bars.

chord-names-spanbar.ly

Chord repeats should omit forced and reminder accidentals.

chord-repetition-accidentals.ly

Chord repetition handles \relative mode: the repeated chords have the same octaves as the original one.

chord-repetition-relative.ly

Post events such as fingerings and scripts added to a chord repetition follow the same basic stacking order as chords.

chord-repetition-script-stack.ly

Chord repetitions are expanded late in the processing order and get their note events only then. Check that \times still works correctly on them.

chord-repetition-times.ly

\tweak takes effect on repeat chords ‘q’ just as if the repetition were written out. In this test, the two first scores should be identical, and the third score should be identical to the first two except for two added dynamic markings. The stems should be thicker than usual, and note heads in the second chord and the third one should be bigger.

chord-repetition-tweak.ly

A repetition symbol can be used to repeat the previous chord and save typing. Only note events are copied: articulations, text scripts, fingerings, etc are not repeated.

chord-repetition.ly

Scripts can also be attached to chord elements. They obey manual direction indicators.

chord-scripts.ly

The layout of chord inversions can be tuned with slashChordSeparator.

chord-slash-separator.ly

Chord tremolos adapt to the presence of accidentals.

chord-tremolo-accidental.ly

Articulations on chord tremolos should not confuse the time-scaling of the notes. In particular, only the number of real notes should be considered.

chord-tremolo-articulations.ly

To calculate the total duration of chord tremolos, only real notes shall be counted, no other commands.

chord-tremolo-other-commands.ly

Don’t allow scaled durations to confuse the tremolo beaming. The tremolos should each have 3 beams.

chord-tremolo-scaled-durations.ly

Tremolo repeats can be constructed for short tremolos (total duration smaller than 1/4) too. Only some of the beams are connected to the stems.

chord-tremolo-short.ly

Chord tremolos on a single note.

chord-tremolo-single.ly

Stem directions influence positioning of whole note tremolo beams.

chord-tremolo-stem-direction.ly

chord tremolos don’t collide with whole notes.

chord-tremolo-whole.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.

In this example, each tremolo lasts exactly one measure.

(To ensure that the spacing engine is not confused we add some regular notes as well.)

chord-tremolo.ly

Chord voicings may be transformed or inverted automatically through Scheme functions. These work even when chord notes are not entered in order (e.g. from the lowest to the uppermost note), and may also be used in chordmode. Even when using voicings, chord names remain unchanged.

chord-voicings.ly

Rests in music passed to ChordNames context display noChordSymbol. noChordSymbol is treated like a ChordName with respect to chordChanges.

chordnames-nochord.ly

Jazz chords may have unusual combinations.

chords-funky-ignatzek.ly

staffLineLayoutFunction is used to change the position of the notes. This sets staffLineLayoutFunction to ly:pitch-semitones to produce a chromatic scale with the distance between a consecutive space and line equal to one semitone.

chromatic-scales.ly

A clef change at the end of the music is printed.

clef-change-at-end.ly

Setting forceClef prints a clef, even at the end of the music, even if the clef is unchanged, and even without a \clef command.

clef-force.ly

Ottava brackets and clefs both modify Staff.middleCPosition, but they don’t confuse one another.

clef-ottava.ly

Clef transposition symbols may be parenthesized or bracketed by using parentheses or brackets in the command string.

clef-transposition-optional.ly

Transposition symbols should be correctly positioned close to the parent clef. Horizontal alignment is fine-tuned for standard C, G and F clefs: for example, downwards transposition of a G clef should be centered exactly under the middle of clef hook. For clefs that don’t have fine-tuned alignment the transposition number should be centered.

clef-transposition-placement.ly

Clefs may be transposed. By default, break-visibility of ClefModifiers is derived from the associated clef, but it may be overridden explicitly. The initial treble_8 clef should not have an 8, while the treble_8 clef after the tenor clef should. These settings also need to apply to clefs on new lines.

clef-transposition-visibility.ly

Clefs may be transposed up or down by arbitrary amount, including 15 for two octaves.

clef-transposition.ly

The \clef command does not print a clef if the clef has not changed. Only the system-start clef should appear.

clef-unchanged.ly

Unknown clef name warning displays available clefs

clef-warn.ly

Clefs with full-size-change should be typeset in full size.

clefs.ly

Clipping snippets from a finished score

Notes:

• If system starts and ends are included, they include extents of the System grob, eg. instrument names.
• Grace notes at the end point of the region are not included
• Regions can span multiple systems. In this case, multiple EPS files are generated.

This file needs to be run separately with -dclip-systems; the collated-files.html of the regression test does not adequately show the results.

The result will be files named base-from-start-to-end[-count].eps.

When using Cairo, this file only works when using the PostScript format.

clip-systems.ly

Clusters behave well across line breaks.

cluster-break.ly

Clusters can be written across staves.

cluster-cross-staff.ly

don’t crash on single chord clusters.

cluster-single-note.ly

Clusters behave well across line breaks.

cluster-style.ly

Clusters are a device to denote that a complete range of notes is to be played.

cluster.ly

\codaMark \default at the beginning of the score does not create a mark. A single coda mark should appear at the beginning of the second measure and a double coda mark should appear at the end.

coda-mark-begin-score-default.ly

\codaMark 1 at the beginning of the score creates a visible mark. A single coda mark should appear at the beginning of the measure and a double coda mark should appear at the end.

coda-mark-begin-score-specific.ly

A coda mark at a line break appears at the end of the line.

coda-mark-break.ly

Coda marks are formatted with codaMarkFormatter, which the user can override. Rehearsal marks and coda marks are sequenced independently.

coda-mark-formatters.ly

Where a coda mark is not aligned on a measure boundary, the bar line defined by underlyingRepeatBarType appears by default. In this case, the single coda sign should have a normal bar line and the double coda sign should have a dotted bar line.

coda-mark-unaligned.ly

When notes are colliding, the resolution depends on the dots: notes with dots should go to the right, if there could be confusion to which notes the dots belong.

collision-dots-invert.ly

If dotted note heads must remain on the left side, collision resolution moves the dots to the right.

collision-dots-move.ly

For collisions where the upper note is dotted and in a space, the upper is moved to right. This behavior can be tuned by prefer-dotted-right.

collision-dots-up-space-dotted.ly

Collision resolution tries to put notes with dots on the right side.

collision-dots.ly

Collision resolution involving dotted harmonic heads succeeds when dots are hidden since rhythmic-head-interface will only retrieve 'dot-count from live grobs.

collision-harmonic-no-dots.ly

Note heads in collisions should be merged if they have the same positions in the extreme note heads.

collision-head-chords.ly

‘fa’ shape note heads (‘fa’, ‘faThin’, etc.), which are right triangles, are merged to avoid creating a rectangular note.

Using property NoteCollision.fa-merge-direction, the direction of the merged ‘fa’ can be controlled independently of the stem direction. If this property is not set, the ‘down’ glyph variant is used.

collision-head-solfa-fa.ly

Open and black note heads are not merged by default.

collision-heads.ly

Colliding note-columns may be shifted manually with force-hshift. Arrangements of notes after collision-resolution have their main columns (not suspended notes) left-aligned, excluding columns with forced shifts.

collision-manual.ly

If NoteCollision has merge-differently-dotted = ##t note heads that have differing dot counts may be merged anyway. Dots should not disappear when merging similar note heads.

collision-merge-differently-dotted.ly

If merge-differently-headed is enabled, then open note heads may be merged with black noteheads, but only if the black note heads are from 8th or shorter notes.

collision-merge-differently-headed.ly

When merging heads, the dots are merged too.

collision-merge-dots.ly

Oppositely stemmed chords, meshing into each other, are resolved.

collision-mesh.ly

Seconds do not confuse the collision algorithm. The first pair of chords in each measure should merge, mesh, or come relatively close, but the second in each measure needs more space to make clear which notes belong to which voice.

collision-seconds.ly

Single head notes may collide.

collision-single-head.ly

Mixed collisions with whole and longer notes require asymmetric shifts.

collision-whole.ly

In addition to normal collision rules, there is support for polyphony, where the collisions are avoided by shifting middle voices horizontally.

collisions.ly

CSS-style color codes are supported and must be prefixed with a hash. In SVG backend, the given color codes (as hexadecimal strings or predefined color names) are used directly; rgb-color lists are converted to rgb() or rgba() appropriately.

Alpha transparency is only visible in SVG output.

color-css.ly

Each grob can have a color assigned to it. Use the \override and \revert expressions to set the color property.

Colors may include an alpha channel, but that is only apparent in SVG output.

color.ly

Complex completion heads work properly in a polyphonic environment.

completion-heads-alternating-polyphony.ly

The Completion_heads_engraver uses dotted breve/longa durations if possible.

completion-heads-dotted-durations.ly

If the Note_heads_engraver is replaced by the Completion_heads_engraver, long notes, longer than measureLength, are split into un-scaled notes, even if the original note used a scale-factor. completionFactor controls this behavior.

completion-heads-factor.ly

You can put lyrics under completion heads.

completion-heads-lyrics.ly

The Completion_heads_engraver correctly handles notes that need to be split into more than 2 parts.

completion-heads-multiple-ties.ly

Completion heads are broken across bar lines. This was intended as a debugging tool, but it can be used to ease music entry. Completion heads are not fooled by polyphony with a different rhythm.

completion-heads-polyphony.ly

Completion heads will remember ties, so they are started on the last note of the split note.

completion-heads-tie.ly

Completion heads may be used with tuplets (and compressed music) too.

completion-heads-tuplets.ly

Note head completion may be broken into sub-bar units by setting the completionUnit property.

completion-heads-unit.ly

If the Note_heads_engraver is replaced by the Completion_heads_engraver, notes that cross bar lines are split into tied notes.

completion-heads.ly

If the Rest_engraver is replaced by the Completion_rest_engraver, long rests, longer than measureLength, are split into un-scaled rests, even if the original duration used a scale-factor. completionFactor controls this behavior.

completion-rest.ly

This tests \once applied to multiple property operations.

complex-once.ly

Simple-fraction components of a compound time signature are numeric regardless of the time signature style.

compound-time-signature-style.ly

Create compound time signatures. The argument is a Scheme list of lists. Each list describes one fraction, with the last entry being the denominator, while the first entries describe the summands in the enumerator. If the time signature consists of just one fraction, the list can be given directly, i.e. not as a list containing a single list. For example, a time signature of (3+1)/8 + 2/4 would be created as \compoundMeter #'((3 1 8) (2 4)), and a time signature of (3+2)/8 as \compoundMeter #'((3 2 8)) or shorter \compoundMeter #'(3 2 8).

compound-time-signatures.ly

A \defaultchild cycle does not induce an endless loop. The output of this test is not important.

context-defaultchild-cycle.ly

\defaultchild can be overridden in a context definition. CREATED should appear in the left margin.

context-defaultchild-def.ly

\defaultchild can be overridden in \with blocks. CREATED should appear in the left margin.

context-defaultchild-mod.ly

\denies context in a context definition cancels a prior \defaultchild context. CREATED should appear in the left margin.

context-denies-defaultchild-def.ly

\denies context in a \with block cancels a prior \defaultchild context. CREATED should appear in the left margin.

context-denies-defaultchild-mod.ly

A \denies statement in a \with block applies to the local context only; it does not change the global context definition. The lower staff should hold a B-sharp.

context-denies-nondestructive-mod.ly

If the descend-to-context function cannot find or create its context below the current context, then it does not create its context anywhere, and it leaves the current context unchanged.

The expected output of this test is one staff with two notes.

context-descend-only-not-found.ly

a staff should die if there is reference to it.

context-die-staff.ly

\context finds a child by type and ID even when the parent also matches.

    StaffGroup A
       \
      StaffGroup B (from here, find StaffGroup A)
         \
        StaffGroup A (this is found)

RESULT should appear in the left margin.

context-find-child.ly

\context finds the current context by type and ID even when there are matching contexts both above and below.

    StaffGroup A
       \
      StaffGroup A (from here, find StaffGroup A)
         \
        StaffGroup A

INNER and RESULT should appear in the left margin.

context-find-current.ly

\context finds a grandchild by type and ID when there are multiple matching contexts.

           StaffGroup A (from here, find Staff D)
          /            \
    StaffGroup B  StaffGroup C
        /                \
    Staff D            Staff D

RESULT and either B or C should appear in the left margin.

context-find-grandchild-ambiguous.ly

\context finds a grandchild by type and ID even when the parent also matches.

    StaffGroup A
       \
      StaffGroup B (from here, find StaffGroup A)
         \
        StaffGroup C
           \
          StaffGroup A (this is found)

RESULT should appear in the left margin.

context-find-grandchild.ly

\context can find the parent context by type and ID.

    StaffGroup A
       \
      StaffGroup B (from here, find StaffGroup A)

CHILD and RESULT should appear in the left margin.

context-find-parent.ly

Attempting to find a Score context by alias before it exists triggers creation of a Score context. The output should have a note on the middle line of the staff.

context-find-score-alias.ly

\context creates a new context rather than finding a matching context in another branch.

             StaffGroup A
            /          \
     StaffGroup B  StaffGroup C (from here, find StaffGroup B)
                         \
                       [StaffGroup B] (this is created)

B1, A, C, and B2 should appear in the left margin.

context-find-sibling.ly

User code is not allowed to access the Global context. The visual output of this test is not important.

context-global-find.ly

User code is not allowed to create a Global context. The visual output of this test is not important.

context-global-new.ly

Context modifications can be stored into a variable as a \with object. They can be later inserted directly into a context definition.

context-mod-context.ly

Context modifications can be stored into a variable as a \with object. They can be later inserted into another \with block.

context-mod-with.ly

Contexts of the same type can be nested.

context-nested-staffgroup.ly

\new can create a child of the same type and name as its parent. PASS should appear in the left margin.

context-new-child-same-name.ly

\new can create a sibling of an existing context with the same type and name. The instrument name should be PASS.

context-new-sibling-same-name.ly

Let ly:context-output-def access some output variables from inside a \applyContext expression.

context-output-def.ly

\pushContextProperty and \popContextProperty are two new commands for manipulating context properties. The first one pushes the current value to a stack and sets a new value, while the second one pops off the value from the stack and uses it to restore the previous value.

context-property-stack.ly

It is possible to define contexts that, when instantiated, take the normal place of Score.

This test should show a score with proportional notation and bigger note heads.

context-score-level.ly

Using \contextStringTuning does not break compiling.

context-string-tuning.ly

Test for cross-staff beams. Three issues are covered. All stems, beams, and note heads should be positioned correctly and there should be no programming errors.

cross-staff-beams.ly

Test for cross-staff stems. We check for properly connected chords, triplets, and auto-beamed beams correctly ended.

cross-staff-stems.ly

Cue clefs can be printed after a bar line.

cue-clef-after-barline.ly

Clefs for cue notes at the start of a score should print the standard clef plus a small cue clef after the time/key signature.

cue-clef-begin-of-score.ly

Clefs for cue notes should not influence the printed key signature.

cue-clef-keysignature.ly

Cue clefs can be printed manually.

cue-clef-manually.ly

Clefs for cue notes and line breaks. If the cue notes start in a new line, the cue clef should not be printed at the end of the previous line. Similarly, an end clef for cue notes ending at a line break should only be printed at the end of the line.

Cue notes going over a line break should print the standard clef on the new line plus an additional cue clef after the time/key signature.

cue-clef-new-line.ly

Optional transposition for clefs for cue notes is supported by using parentheses or brackets around the transposition number.

cue-clef-transposition-optional.ly

Transposition for clefs for cue notes.

cue-clef-transposition.ly

Clefs for cue notes: Print a cue clef at the begin of the cue notes and a canceling clef after the cue notes.

cue-clef.ly

Custos_engraver accepts (and ignores) unpitched notes.

custos-unpitched.ly

Custodes may be engraved in various styles.

custos.ly

Muted notes (also called dead notes) are supported within normal staves and tablature. They are printed correctly, even if another font for TabNoteHead is used.

dead-notes.ly

Cyclic dependencies are detected and warned about. When the debug-property-callbacks option is set, a backtrace is printed with the warning.

debug-property-callbacks.ly

Tests define-event-function by creating a trivial function converting a markup into a dynamic script post-event. As opposed to music functions, a direction indicator is not required.

define-event-function.ly

The VerticalAxisGroup.remove-layer property can be used for typesetting temporary divisi staves where the switch to split staves is done only at line breaks such that all complex passages are rendered in separate staves.

divisi-staves.ly

This test exercises ancient divisions (divisiones) with settings that are overridden in various built-in Staff contexts. Each Staff is in a separate \score.

divisiones-staff-override-alone.ly

By default, GregorianTranscriptionStaff creates BarLine grobs for \divisio… commands, but \EnableGregorianDivisiones makes it create Divisio grobs like the ancient-notation staves.

divisiones-staff-override-gregorian-transcription-style.ly

This test exercises ancient divisions (divisiones) with settings that are overridden in various built-in Staff contexts. All staves are in one StaffGroup.

divisiones-staff-override-grouped.ly

This test exercises semantic divisions with settings that are overridden in various built-in Staff contexts. Each Staff is in a separate \score.

divisions-staff-override-alone.ly

By default, GregorianTranscriptionStaff creates BarLine grobs for semantic division commands, but \EnableGregorianDivisiones makes it create Divisio grobs like the ancient-notation staves.

divisions-staff-override-gregorian-transcription-style.ly

This test exercises semantic divisions with settings that are overridden in various built-in Staff contexts. All staves are in one StaffGroup.

divisions-staff-override-grouped.ly

\cadenzaOn should not confuse the dodecaphonic-no-repeat accidental style. In this test, the second C should have a printed accidental since it is not immediately repeated.

dodecaphonic-no-repeat-cadenza.ly

Partials do not confuse the dodecaphonic-no-repeat accidental style. In this test, the second C should have a printed accidental since it is not immediately repeated.

dodecaphonic-no-repeat-partial.ly

Dot Columns are engraved in the Staff by default, enabling dots to move vertically to make room for dots from another voice. If Dot_column_engraver is moved to Voice, separate dot columns are engraved, and these dots avoid notes in other voices.

dot-column-engraver.ly

Dots and note-heads should not collide.

dot-column-note-collision.ly

Dot columns do not trigger beam slanting too early. This input should compile with no programming error message, and the dots should be correctly placed on their rests.

dot-column-rest-collision.ly

Dot columns should not trigger vertical spacing before line breaking. If the regtest issues a programming_error saying that vertical spacing has been called before line breaking, it has failed.

dot-column-vertical-positioning.ly

The dot-count property for Dots can be modified by the user.

dot-dot-count-override.ly

Dots move to the right when a collision with the (up)flag happens.

dot-flag-collision.ly

Dotted rests connected with beams do not trigger premature beam calculations. In this case, the beam should be sloped, and there should be no programming_error() warnings.

dot-rest-beam-trigger.ly

The dots on a dotted rest are correctly accounted for in horizontal spacing.

dot-rest-horizontal-spacing.ly

in collisions, the dots of outer voices avoid stems and flags of the inner voices.

dot-up-voice-collision.ly

Both noteheads and rests can have dots. 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. In case of chords, all dots should be in a column. The dots follow the shift of rests when avoiding collisions.

The priorities to print the dots are (ranked in importance):

• keeping dots off staff lines,
• keeping dots close to their note heads,
• moving dots in the direction specified by the voice,
• moving dots up.

dots.ly

Pitches for drums may have a defined articulation sign. This test checks the predefined drum styles and prints only drum pitches with an articulation sign.

drum-scripts.ly

In drum notation, there is a special clef symbol, drums are placed to their own staff positions and have note heads according to the drum, an extra symbol may be attached to the drum, and the number of lines may be restricted.

drums.ly

The compression factor of a duration identifier is correctly accounted for by the parser.

duration-identifier-compressed.ly

Duration_line_engraver works nicely with \partCombine.

If \partCombine combines notes to chords both note heads get a DurationLine.

duration-line-and-partCombine.ly

At line break a broken DurationLine, like Glissando, avoids items with break-aligned-interface, like KeySignature, BreathingSign etc., but not items with the break-alignable-interface, like TextMark, MetronomeMark, etc..

duration-line-at-line-break.ly

A DurationLine grob may end with a special behavior. Currently available are hooks (with settable direction) and arrows.

duration-line-end-items.ly

Duration lines are placed vertically correct for non-default staff sizes and all styles.

duration-line-magnified-staff.ly

Duration lines work across staff changes.

duration-line-staff-change.ly

A DurationLine grob may start/end at NoteHead, Rest, skip-event (if forced, otherwise skips are passed), NoteHeads of EventChord or at an entire NoteColumn. Start/end at MultiMeasureRest is only basically supported.

It stops automatically if the Voice pauses, i.e., no rhythmical events happen for some time, and at end of score.

Avoids Dots (if forced), Accidentals and Arpeggio (per changeable default).

duration-line-start-stop.ly

Several styles for the DurationLine grob are available: 'beam, 'line, 'dashed-line, 'dotted-line, 'zigzag, 'trill and 'none.

duration-line-styles.ly

The visible thickness of a duration line is adjusted properly according to the staff space for all styles, like for long compressed MultiMeasureRest. Changes in StaffSymbol.thickness are disregarded.

duration-line-thickness-staff-sizes.ly

DurationLine should pass a tied NoteHead, but a previous Tie should not be taken into account. In this test the DurationLine, starting at the third note of each line, should end before the fourth note of said line.

duration-line-tie.ly

Duration multipliers can be specified as scheme expressions, either as rationals or as a moment.

duration-multiplier-scheme.ly

If a dynamic has an explicit direction that differs from the dynamic line spanner’s direction, automatically break the dynamic line spanner.

dynamics-alignment-autobreak.ly

\breakDynamicSpan shall also work if a dynamic spanner crosses a line break.

dynamics-alignment-breaker-linebreak.ly

\breakDynamicSpan work whether it is placed together with the start or the end of a spanner. Both lines should be identical.

dynamics-alignment-breaker-order.ly

\breakDynamicSpan shall only have an effect on the current spanner, not on subsequent spanners.

dynamics-alignment-breaker-subsequent-spanner.ly

Hairpins, DynamicTextSpanners and dynamics can be positioned independently using \breakDynamicSpan, which causes the alignment spanner to end prematurely.

dynamics-alignment-breaker.ly

Setting the style of a DynamicTextSpanner to 'none to hide the line altogether should also work over line breaks.

dynamics-alignment-no-line-linebreak.ly

If the line for a DynamicTextSpanner is hidden, the alignment spanner for dynamics is ended early. This allows consecutive dynamics to be unlinked.

dynamics-alignment-no-line.ly

Cross-staff Dynamic does not trigger a cyclic dependency for direction look-up.

dynamics-avoid-cross-staff-stem.ly

When a hairpin is broken, the broken parts should be open at the ‘breaking point’.

dynamics-broken-hairpin.ly

Text spanners work in the Dynamics context.

dynamics-context-textspan.ly

Postfix functions for custom crescendo text spanners. The spanners should start on the first note of the measure. One has to use -\mycresc, otherwise the spanner start will rather be assigned to the next note.

dynamics-custom-text-spanner-postfix.ly

An empty Dynamics context does not confuse the spacing.

dynamics-empty.ly

Dynamic letters are kerned, and their weight matches that of the hairpin signs. The dynamic scripts should be horizontally centered on the note head. Scripts that should appear closer to the note head (staccato, accent) are reckoned with.

dynamics-glyphs.ly

By default hairpins extend to the extremes of the bound if there is no adjacent hairpin or dynamic text. A hairpin may instead extend to the LEFT, CENTER or RIGHT of NoteColumn grobs by overriding property endpoint-alignments, which is a pair of numbers representing the left and right ends of the hairpin. endpoint-alignments are expected to be directions (either -1, 0 or 1). Other values will be transformed with a warning. The right end of a hairpin terminating at a rest is not affected, always ending at the left edge of the rest.

dynamics-hairpin-endpoint-alignment.ly

Hairpins extend to the extremes of the bound if there is no adjacent hairpin or dynamic-text. If there is, the hairpin extends to the center of the column or the bound of the text respectively.

dynamics-hairpin-length.ly

Dynamics appear below or above the staff. If multiple dynamics are linked with (de)crescendi, they should be on the same line. Isolated dynamics may be forced up or down.

dynamics-line.ly

DynamicText, DynamicLineSpanner, and Hairpin do not have outside-staff-priority in Dynamics contexts. This allows grobs with outside-staff-priority set to be positioned above and below them.

dynamics-outside-staff-priority.ly

Text dynamics are positioned correctly on rests, i.e., centered on the parent object.

dynamics-rest-positioning.ly

The X-offset of DynamicText grobs in a Dynamics context should be averaged over the center of NoteColumn grobs in the DynamicText’s PaperColumn.

dynamics-text-dynamics-context.ly

The left text of a DynamicTextSpanner is left-aligned to its anchor note.

dynamics-text-left-text-alignment.ly

The space between an absolute dynamic and a dynamic text span can be changed using 'right-padding.

dynamics-text-right-padding.ly

left attach dir for text crescendi starting on an absolute dynamic is changed, so cresc. and the absolute dynamic don’t overstrike.

dynamics-text-spanner-abs-dynamic.ly

The 2nd half of the cresc. stays at a reasonable distance from the notes.

dynamics-text-spanner-padding.ly

The \cresc, \dim and \decresc spanners are now postfix operators and produce one text spanner. Defining custom spanners is also easy. Hairpin and text crescendi can be easily mixed. \< and \> produce hairpins by default, \cresc etc. produce text spanners by default.

dynamics-text-spanner-postfix.ly

Crescendi may start off-notes, however, they should not collapse into flat lines.

dynamics-unbound-hairpin.ly

Accidentals are positioned correctly when using Easy notation.

easy-notation-accidentals.ly

Easy noteheads should be scalable in size, like in grace notes. This works with \magnifyStaff and layout-set-staff-size as well.

easy-notation-size.ly

Easy-notation (or Ez-notation) prints names in note heads. You also get ledger lines, of course.

easy-notation.ly

PostScript code can be directly inserted inside a \markup block.

embedded-postscript.ly

Strings and comments inside of #{…#} should not be confiusing to the embedded LilyPond parser. If this test succeeds, three notes with (#), ($), and (%) underneath will get displayed here.

embedded-strings-comments.ly

The Emmentaler font contains kerning for many number pairs.

emmentaler-number-kerning.ly

Empty chords accept articulations, occupy no time, and leave the current duration unchanged.

empty-chord.ly

The functions ly:engraver-make-item and ly:engraver-make-spanner are similar to ly:engraver-make-grob. They are useful when the grob definition does not mandate a particular grob class.

engraver-make-item-spanner.ly

An episema can be typeset over a single neume or a melisma. Its position is quantized between staff lines.

episema.ly

Music events can be extracted from a score with event listeners.

event-listener-output.ly

A mode switching command like \lyricsto will ‘pop state’ when seeing the lookahead token \time, a music function, after its non-delimited argument. This must not cause the extra token parsing state for the music function to disappear.

extratoken.ly

Fermatas have an appropriate distance to dots, note heads and other articulations.

fermata-dot-position.ly

Trills and trill spanners should be below fermatas. Fermatas should be below ottava spanners.

fermata-outside-staff-priority.ly

Fermatas over multimeasure rests are positioned as over normal rests.

fermata-rest-position.ly

LilyPond creates hairpins found in Ferneyhough scores. Flared hairpins may print circled tips.

ferneyhough-hairpins.ly

Bass figures can carry alterations, which may also be bracketed.

figured-bass-alteration.ly

Pairs of congruent figured bass extender lines are vertically centered if figuredBassCenterContinuations is set to true.

figured-bass-continuation-center.ly

A figured bass continuation line after an empty bass figure has a correct vertical position.

figured-bass-continuation-empty.ly

Figured bass extender for figures of different width (e.g., with alteration or two-digit figures) should still stop at the same position.

figured-bass-continuation-end-position.ly

By adorning a bass figure with \!, an extender may be forbidden.

figured-bass-continuation-forbid.ly

Figured bass extender lines shall be broken when a figure has a different alteration, augmentation, or diminishment.

figured-bass-continuation-modifiers.ly

Figured bass extender lines run between repeated bass figures. They are switched on with useBassFigureExtenders.

figured-bass-continuation.ly

Bass figures and extenders shall also work correctly if the figure has a different duration than the bass note. In particular, if a timestep does not have a new figure (because the old figure still goes on), extenders should be drawn and not be reset.

figured-bass-durations.ly

Bass figures may be empty and still take up space.

figured-bass-empty-figures.ly

When using extender lines in figured bass, markup objects should be treated like ordinary figures and work correctly with extender lines.

Extenders should only be used if the markup is really identical.

figured-bass-extenders-markup.ly

Figured bass extenders do not distort vertical spacing.

figured-bass-extenders-spacing.ly

When figures appear inside a voice, ignoreFiguredBassRest causes all figures on rests to be discarded and all spanners ended. If set to #f, figures on rests are printed.

figured-bass-ignore-rest.ly

Implicit bass figures are not printed, but they do get extenders.

figured-bass-implicit.ly

Bass figures with more than a single digit can be positioned differently.

figured-bass-large-numbers.ly

Figured bass in a Staff context doesn’t collide with articulations.

figured-bass-script.ly

Figured bass supports numbers with slashes through them.

figured-bass-slashed-numbers.ly

Figured bass can also be added to Staff context directly. In that case, the figures must be entered with \figuremode and be directed to an existing Staff context.

Since these engravers are on Staff level, properties controlling figured bass should be set in Staff context.

figured-bass-staff.ly

Figured bass is created by the FiguredBass context, which responds to figured bass and rest events.

You can also enter markup strings; the vertical alignment may also be tuned.

figured-bass.ly

The fill-line markup command should align texts in columns. For example, the characters in the center should form one column.

fill-line-test.ly

Context modification via \with filters translators of the wrong type: performers for an Engraver_group and engravers for a Performer_group. In this test, the Instrument_name_engraver is added to a StaffGroup, but does not affect midi output, since it is filtered out.

filter-translators.ly

\fine places a performance instruction below all staves and at end-of-line at a break, except at the written end of the music. The context property fineText controls the text.

fine.ly

Scripts left of a chord avoid accidentals.

finger-chords-accidental.ly

Scripts right of a chord avoid dots.

finger-chords-dot.ly

Ordering of the fingerings depends on vertical ordering of the notes, and is independent of up/down direction.

finger-chords-order.ly

It is possible to associate fingerings uniquely with notes. This makes it possible to add horizontal fingerings to notes. Fingering defaults to not clearing flags and stems unless there is a collision or a beam.

finger-chords.ly

The FingerGlideSpanner is able to connect non-matching Fingerings using the id property. In the test, equally colored fingers should be connected.

finger-glide-spanner-id.ly

The FingerGlideSpanner grob prints nicely for all styles if there are line breaks. For the styles stub-right, stub-left and stub-right the printed line is intentionally shorter.

finger-glide-spanner-line-break-styles.ly

The FingerGlideSpanner is not confused by multiple fingerings.

finger-glide-spanner-multiple-fingerings.ly

Nested FingerGlideSpanner grobs work. A breaking line does not disturb the printing, the part after the break continues with the same angle.

finger-glide-spanner-nested-line-break.ly

The FingerGlideSpanner may be printed in several styles.

finger-glide-spanner-styles.ly

Fingering grobs created by the New_fingering_engraver (i.e., fingerings entered inside of <>) with fingeringOrientations set to up or down avoid accidentals of displaced notes that might get into the way in chords containing adjacent notes (seconds) or unison notes.

With \override Fingering.X-align-on-main-noteheads = ##t, the fingerings oriented up and down are arranged in a straight column aligned on the noteheads on the “correct” side of the stem.

fingering-adjacent-note-chord-new.ly

Fingering grobs created by the Fingering_engraver (i.e., fingerings entered outside of <>) above or below chords containing adjacent notes (seconds) or unison notes should be aligned on the main noteheads, i.e., on the noteheads that are on the “correct” side of the stem.

Incidentally, this also avoids collisions with accidentals.

fingering-adjacent-note-chord.ly

Horizontally-offset Fingerings align along the Y axis when they are within FingeringColumn.snap-radius of each other.

fingering-column-snap-radius.ly

Horizontal Fingering grobs that collide do not intersect. Non-intersecting Fingering grobs are left alone. This is managed by the FingeringColumn grob.

fingering-column.ly

Fingerings work correctly with cross-staff beams.

fingering-cross-staff.ly

Fingering directions in directed and undirected contexts.

fingering-directions.ly

Fingerings don’t segfault when their stencil is set to ##f.

fingering-no-stencil.ly

If a Fingering grob is left- or right-positioned, the Y-offset property is taken relative to the vertical position of its X-parent (i.e., its associated note head).

fingering-y-offset-new.ly

Automatic fingering tries to put fingering instructions next to noteheads.

fingering.ly

Stems reach correct begin points of merged noteheads.

flag-stem-begin-position.ly

\flageolet draws a small circle on top of the note when a natural harmonic is needed.

flageolet.ly

Default flag styles: '(), 'mensural, 'stacked, and 'no-flag.

Compare all three methods to print them: (1) C++ default implementation, (2) Scheme implementation using the 'style grob property, and (3) setting the 'flag property explicitly to the desired Scheme function.

All three systems should be absolutely identical.

flags-default.ly

The ’stencil property of the Flag grob can be set to a custom scheme function to generate the glyph for the flag.

flags-in-scheme.ly

Straight flags scale according to layout-set-staff-size in MetronomeMark, TextScript and music.

flags-straight-layout-staff-size.ly

Flags can be drawn straight in the style used by Stockhausen and Boulez.

flags-straight-stockhausen-boulez.ly

Straight flag styles.

flags-straight.ly

Stencils can be flipped horizontally or vertically within their bounding box using flip-stencil.

flip-stencil.ly

The line-spanners connects to the Y position of the note on the next line. When put across line breaks, only the part before the line break is printed.

follow-voice-break.ly

The voice follower is not confused when set for consecutive sets of staff switches.

follow-voice-consecutive.ly

TM and No should not be changed into trademark/number symbols. This may happen with incorrect font versions.

font-bogus-ligature.ly

The default font families for text can be overridden.

font-family-override.ly

Exercise font features. Requires a font that supports the features. This ensures no errors using the interface.

font-features.ly

Text gets kerned if the used font supports that.

font-kern.ly

External fonts may be used without being installed on the operating system, by loading either a specific font file or a directory that contains font files. In this example two logos (’GPL’ and ’GFDL’) should be printed, rather than letter glyphs.

font-name-add-files.ly

Setting the font-name property does not change the font size. The two strings below should be concatenated and have the same font size.

Note that ‘the same font size’ is related to what lilypond reports on the console if in verbose mode (3.865234375 units for this regression test). If you actually look at the two fonts the optical size differs enormously.

font-name-font-size.ly

Other fonts can be used by setting font-name for the appropriate object. The string should be a Pango font description without size specification.

font-name.ly

This is an example of automatic footnote numbering where the number is reset on each page. It uses the symbol-footnotes numbering function, which assigns the symbols *, †, ‡, § and ¶ to successive footnotes, doubling up on the symbol after five footnotes have been reached.

footnote-auto-numbering-page-reset.ly

This regtest makes sure that footnote numbers are laid out in the correct vertical order.

footnote-auto-numbering-vertical-order.ly

This is an example of automatic footnote numbering where the number is not reset on each page. It uses the default numbering function, which assigns numbers starting at 1 to successive footnotes.

footnote-auto-numbering.ly

Balloons and footnotes on multi-measure rest numbers and percent repeat counters are correctly placed.

footnote-balloon-on-counter.ly

Automatic beams may receive footnotes.

footnote-beam.ly

With grobs that have break visibility, footnotes will automatically take the break visibility of the grob being footnoted. This behavior can be overridden.

footnote-break-visibility.ly

Footnotes work on cross-staff grobs.

footnote-cross-staff.ly

The padding between a footnote and the footer can be tweaked.

footnote-footer-padding.ly

Lyrics may receive footnotes.

footnote-lyrics.ly

Multi-measure rests may receive footnotes.

footnote-mmrest.ly

Footnotes are annotated at the correct place, and the annotation goes to the correct page.

footnote-spanner.ly

Footnotes on volta brackets also work

footnote-volta-spanner.ly

Lilypond does footnotes.

footnote.ly

forbidBreakBetweenBarLines controls whether Bar_engraver forbids line breaks where there is no bar line. The output should have a break in the middle of a measure.

forbid-break-between-bar-lines.ly

FretBoards should be aligned in the Y direction at the fret-zero, string 1 intersection.

fret-board-alignment.ly

Frets can be assigned automatically. The results will be best when one string number is indicated in advance

fret-boards.ly

Fret diagrams of different orientation should share a common origin of the topmost fret or string.

fret-diagram-origins.ly

A capo indicator can be added with a fret-diagram-verbose string, and its thickness can be changed.

fret-diagrams-capo.ly

Dots in fret diagrams may be colored as well as the entire fret diagram. Not explicitely colored dots take the color from TextScript grob or from with-color. Otherwise the specified color is preserved. Parentheses take their color from the dot, if default-paren-color is used they take their color from the overall color. Works for inverted dots as well.

fret-diagrams-dot-color.ly

Dots indicating fingerings can be changed in location, size, and coloring. It is possible to parenthesize a single dot. The color of the paranthesis may be taken from dot or default. A possible collision between parathesis and fret-label- indication can be resolved by an override for fret-label-horizontal-offset in fret-diagram-details.

fret-diagrams-dots.ly

Finger labels can be added, either in dots or below strings. Dot color can be changed globally or on a per-dot basis, and fingering label font size can be adjusted.

fret-diagrams-fingering.ly

The label for the lowest fret can be changed in location, size, and number type.

fret-diagrams-fret-label.ly

Fret diagrams can be presented in landscape mode.

fret-diagrams-landscape.ly

Fret-diagrams may be printed left-handed

fret-diagrams-left-handed.ly

Fret diagrams can be presented in landscape mode.

fret-diagrams-opposing-landscape.ly

Fret diagrams can be scaled using the size property. Also, scaling the distance between the frets and/or strings is possible with the properties fret-distance and/or string-distance of fret-diagram-details. The position and size of first fret label, mute/open signs, fingers, relative to the diagram grid, shall be the same in all cases.

fret-diagrams-size.ly

Number of frets and number of strings can be changed from the defaults.

fret-diagrams-string-frets.ly

String thickness can be changed, and diagrams can have variable string thickness. The thick zero-fret is adjusted accordingly for changed size, fret-diagram-details.string-thickness-factor and fret-diagram-details.top-fret-thickness. There should be no visible gap inside the red circle.

fret-diagrams-string-thickness.ly

The size, spacing, and symbols used to indicate open and muted strings can be changed.

fret-diagrams-xo-label.ly

FretBoards can be set to display only when the chord changes or at the beginning of a new line.

fretboard-chordchanges.ly

Markups can be put into the dots of a fret-diagram. Those markups are scaled automatically to fit into the dots.

fretdiagram-markup-in-dots.ly

Fermata over full-measure rests should invert when below and be closer to the staff than other articulations.

full-measure-rest-fermata.ly

This file tests various Scheme utility functions.

general-scheme-bindings.ly

As a last resort, the placement of grobs can be adjusted manually, by setting the extra-offset of a grob.

generic-output-property.ly

Glissandi stop before hitting accidentals. Chord glissandi stop at the same horizontal position and have the same slope, they do not cross.

glissando-accidental.ly

When broken, glissandi can span multiple lines.

glissando-broken-multiple.ly

Broken glissandi anticipate the pitch on the next line.

glissando-broken-unkilled.ly

If broken, Glissandi anticipate on the pitch of the next line.

glissando-broken.ly

A glissando between chords should not interfere with line breaks. In this case, the music should be in two lines and there should be no warning messages issued. Also, the glissando should be printed.

glissando-chord-linebreak.ly

LilyPond typesets glissandi between chords.

glissando-chord.ly

Lilypond prints consecutive glissandi.

glissando-consecutive.ly

Broken cross-staff glissandi have acceptable slopes when one staff is removed.

glissando-cross-staff-broken-remove-empty.ly

Broken cross-staff glissandi can span more than two systems.

glissando-cross-staff-broken-several-systems.ly

Cross-staff glissandi have acceptable slopes when they cross line breaks.

glissando-cross-staff-broken.ly

Broken cross-staff glissandi have acceptable slopes when one staff is removed.

glissando-cross-staff-staff-absent.ly

Cross staff glissandi reach their endpoints correctly.

glissando-cross-staff.ly

Glissandi begin after dots by default. This behavior may be changed by overriding the start-at-dot property.

glissando-dots.ly

Individual glissandi within a chord can be tweaked.

glissando-index.ly

Glissandi are not broken. Output of this test is expected to run off the page.

glissando-no-break.ly

NoteColumn grobs can be skipped over by glissandi.

glissando-skip.ly

stencil-align-dir-y also works on glissandi.

glissando-stencil-align-dir-y.ly

Between notes, there may be simple glissando lines. Here, the first two glissandi are not consecutive.

The engraver does no time-keeping, so it involves some trickery to get << { s8 s8 s4 } { c4 \gliss d4 } >> working correctly.

glissando.ly

A grace in the first alternative does not cause the beaming to go awry in subsequent material

grace-alternative.ly

A separate ‘Grace_auto_beam_engraver’ initiates autobeaming at the start of each \grace command.

grace-auto-beam-engraver.ly

The autobeamer is not confused by grace notes.

grace-auto-beam.ly

Bar line should come before the grace note.

grace-bar-line.ly

Grace notes do tricky things with timing. If a measure starts with a grace note, the measure does not start at 0, but earlier. Nevertheless, lily should not get confused. For example, line breaks should be possible at grace notes, and the bar number should be printed correctly.

grace-bar-number.ly

Grace beams and normal beams may occur simultaneously. Unbeamed grace notes are not put into normal beams.

grace-beam.ly

The \voiceOne setting is retained after finishing the grace section.

grace-direction-polyphony.ly

Grace notes at the end of an expression don’t cause crashes.

grace-end-expression.ly

Grace notes after the last note do not confuse the timing code.

grace-end.ly

Grace-timed elements in sequence line up before the next main note in the obvious way.

grace-multiple.ly

startGraceMusic and stopGraceMusic may be overridden to change the properties of grace notes. In this test, the stems of the grace notes point down.

grace-music-override.ly

Grace code should not be confused by nested sequential music containing grace notes; practically speaking, this means that the end-bar and measure bar coincide in this example.

grace-nest1.ly

Grace code should not be confused by nested sequential music containing grace notes; practically speaking, this means that the end-bar and measure bar coincide in this example.

grace-nest2.ly

In nested syntax, graces are still properly handled.

grace-nest3.ly

Also in the nested syntax here, grace notes appear rightly.

grace-nest4.ly

Graces notes may have the same duration as the main note.

grace-nest5.ly

Grace notes may be put in a partCombiner.

grace-part-combine.ly

A \partial may be combined with a \grace.

grace-partial.ly

Create grace notes with slashed stem, but no slur. That can be used when the grace note is tied to the next note.

grace-slashed-no-slur.ly

Stripped version of trip.ly. Staves should be of correct length.

grace-staff-length.ly

The various kinds of grace music are similar in how they create contexts. In this test, each grace note should create a new staff.

grace-start-context.ly

Pieces may begin with grace notes.

grace-start.ly

Stem lengths for grace notes should be shorter than normal notes, if possible. They should never be longer, even if that would lead to beam quanting problems.

grace-stem-length.ly

Here startGraceMusic should set no-stem-extend to true; the two grace beams should be the same here.

grace-stems.ly

Grace notes in different voices/staves are synchronized.

grace-sync.ly

There are three different kinds of grace types: the base grace switches to smaller type, the appoggiatura inserts also a slur, and the acciaccatura inserts a slur and slashes the stem.

grace-types.ly

When grace notes are entered with unfolded repeats, line breaks take place before grace notes.

grace-unfold-repeat.ly

A volta repeat may begin with a grace. Consecutive ending and starting repeat bars are merged into one :..:.

grace-volta-repeat-merge-barline.ly

Repeated music can start with grace notes. Bar checks preceding the grace notes do not cause synchronization effects.

grace-volta-repeat.ly

You can have beams, notes, chords, stems etc. within a \grace section. If there are tuplets, the grace notes will not be under the brace.

Main note scripts do not end up on the grace note.

grace.ly

The graphviz feature draws dependency graphs for grob properties.

graphviz.ly

GregorianTranscriptionStaff does not print ligatures.

gregorian-transcription-no-ligatures.ly

With grid lines, vertical lines can be drawn between staves synchronized with the notes.

grid-lines.ly

With the full form of the \tweak function, individual grobs that are indirectly caused by events may be tuned.

grob-indirect-tweak.ly

ly:grob-object supports a third optional parameter, the fallback value to use when the property is undefined in the grob. This test should print ’Test OK’ twice.

grob-object-fallback.ly

With the \tweak function, individual grobs that are directly caused by events may be tuned directly.

grob-tweak.ly

Hairpins in Dynamics contexts do not collide with arpeggios.

hairpin-arpeggio.ly

If a hairpin ends on the first note of a new staff, we do not print that ending. But on the previous line, this hairpin should not be left open, and should end at the bar line.

hairpin-barline-break.ly

Hairpins can have circled tips. A decrescendo del niente followed by a crescendo al niente should only print one circle. If a decrescendo ends at first note of a new line the circle is printed at the end of the previous line or in the new line, depending on the setting of after-line-breaking.

hairpin-circled.ly

Broken hairpins are not printed too high after treble clefs.

hairpin-clef.ly

Hairpin crescendi may be dashed.

hairpin-dashed.ly

Hairpin dynamics start under notes if there are no text-dynamics. If there are text dynamics, the hairpin does not run into them.

hairpin-ending.ly

Broken hairpins are not printed too high after key signatures.

hairpin-key-signature.ly

Bound padding for hairpins also applies before following DynamicTextSpanner grobs. In this case, bound-padding is not scaled down.

hairpin-neighboring-span-dynamics.ly

The shorten-pair property works with circled-tip hairpins. When two hairpins share a circle, the adjoining ends are not moved. The same holds, if flared-hairpin is used to get hairpins in the style of Ferneyhough.

hairpin-shorten-pair-circled-tip.ly

The ends of hairpins may be offset with the shorten-pair property. Positive values offset ends to the right, negative values to the left.

hairpin-shorten-pair.ly

Hairpin grobs do not collide with SpanBar grobs. Hairpin grobs should, however, go to the end of a line when the SpanBar is not present.

hairpin-span-bar.ly

’to-barline is not confused by very long marks.

hairpin-to-barline-mark.ly

Hairpins whose end note is preceded by a bar line should end at that bar line.

hairpin-to-barline.ly

Hairpins end at the left edge of a rest.

hairpin-to-rest.ly

The halfopenvertical articulation is available.

halfopenvertical.ly

Staves in a PianoStaff remain alive as long as any of the staves has something interesting.

hara-kiri-alive-with.ly

Hara-kiri staves are suppressed if they are empty. This example really contains three drum staves, but as it progresses, empty ones are removed: this example has three staves, but some of them disappear: note how the 2nd line only has the bar number 2. (That the bar number is printed might be considered a bug, however, the scenario of all staves disappearing does not happen in practice.)

Any staff brackets and braces are removed, both in the single staff and no staff case.

hara-kiri-drumstaff.ly

Inserting the harakiri settings globally into the Staff context should not erase previous settings to the Staff context.

hara-kiri-keep-previous-settings.ly

Staves, RhythmicStaves, TabStaves and DrumStaves with percent repeats are not suppressed.

hara-kiri-percent-repeat.ly

Hara-kiri staves are suppressed if they are empty. This example really contains three rhythmic staves, but as it progresses, empty ones are removed: this example has three staves, but some of them disappear: note how the 2nd line only has the bar number 2. (That the bar number is printed might be considered a bug, however, the scenario of all staves disappearing does not happen in practice.)

Any staff brackets and braces are removed, both in the single staff and no staff case.

hara-kiri-rhythmicstaff.ly

Hara-kiri staves kill themselves if they are empty. This example really contains three staves, but as they progress, empty ones are removed: this example has three staves, but some of them disappear: note how the 2nd line only has the bar number 2. (That the bar number is printed might be considered a bug, however, the scenario of all staves disappearing does not happen in practice.)

Any staff brackets and braces are removed, both in the single staff and no staff case.

hara-kiri-staff.ly

stanza numbers remain, even on otherwise empty lyrics lines.

hara-kiri-stanza-number.ly

Hara-kiri staves are suppressed if they are empty. This example really contains three tab staves, but as it progresses, empty ones are removed: this example has three staves, but some of them disappear: note how the 2nd line only has the bar number 2. (That the bar number is printed might be considered a bug, however, the scenario of all staves disappearing does not happen in practice.)

hara-kiri-tabstaff.ly

The harp-pedal markup function does some sanity checks. All the diagrams here violate the standard (7 pedals with divider after third), so a warning is printed out, but they should still look okay.

harp-pedals-sanity-checks.ly

Harp pedals can be tweaked through the size, thickness and harp-pedal-details properties of TextScript.

harp-pedals-tweaking.ly

Basic harp diagram functionality, including circled pedal boxes. The third diagram uses an empty string, the third contains invalid characters. Both cases will create warnings, but should still not fail with an error.

harp-pedals.ly

A second book-level header block and headers nested in bookpart and score should not clear values from the first header block. This score should show composer, piece, subtitle and title.

header-book-multiple.ly

Changing the header fields in a book or a bookpart shall not have any effect on the global default values.

header-book-multiplescores.ly

A second bookpart-level header block shall retain previously set values from a first header block at the same or higher levels unless overriden.

header-bookpart-multiple.ly

Cyclic references in header fields should cause a warning, but not crash LilyPond with an endless loop

header-cyclic-reference.ly

A second score-level header block shall not entirely replace a first header block, but only update changed variables.

header-score-multiple.ly

Header blocks may appear before and after the actual music in a score.

header-score-reordered.ly

A second top-level header block shall not entirely replace a first header block, but only changed variables.

header-toplevel-multiple.ly

Using \override Beam.damping = #+inf.0 should always make beams horizontal. A threshold is implemented to avoid rounding errors that would cause non-horizontal beams otherwise.

Here, the beam should be horizontal.

horizontal-beams-damping.ly

Horizontal brackets connect over line breaks.

horizontal-bracket-break.ly

Text is parenthesized when analysis brackets cross line breaks.

horizontal-bracket-broken-texted.ly

Labels may be added to analysis brackets through the text property of the HorizontalBracketText object. Use of the weak command is necessary for assigning text uniquely to brackets beginning at the same moment. Text assignments reflect the usual nesting order of brackets.

horizontal-bracket-texted.ly

Horizontal brackets are created with the correct event-cause, ensuring tweaks are applied to the correct spanner.

horizontal-bracket-tweak.ly

Note grouping events are used to indicate where analysis brackets start and end.

horizontal-bracket.ly

Shows the id property of a grob being set. This should have no effect.

id.ly

Music variables may be structured into alists indexed by numbers or symbols.

identifier-alists.ly

Identifiers following a chordmode section are not interpreted as chordmode tokens. In the following snippet, the identifier ‘m’ is not interpreted by the lexer as a minor chord modifier.

identifier-following-chordmode.ly

Music identifiers containing arbitrary characters may be initialized using

"violin1" = { c''4 c'' c'' c'' }

and used as:

\new Voice { \"violin1" }

identifier-quoted.ly

test identifiers.

identifiers.ly

In-notes can be controlled via \paper variables.

in-note-configuration.ly

LilyPond does in-notes.

in-note.ly

Incipits can be printed using an InstrumentName grob. In the second line of the second score the InstrumentName grob should appear left-aligned.

incipit.ly

\include accepts a string-valued variable. The expected output is three quarter notes.

include-identifier.ly

ly:parser-include-string should include the current string like a file \include.

include-string.ly

Combine several kinds of stems in parallel voices.

incompatible-stem-warning.ly

\inherit-acceptability allows for one context def to be accepted wherever an existing one is.

inherit-acceptability.ly

The argument of \initialContextFrom is susceptible to modification by tags. The expected output is a single measure with “PASS” in the left margin.

initial-context-from-tags.ly

Alignment of lyrics, dynamics, textscripts and articulations attached to chords with suspended notes doesn’t depend on input order. All these items are aligned on the "main" notehead (the one at the end of the stem).

input-order-alignment.ly

The Voice.instrumentCueName property generates instrument names for cue notes. It can also be unset properly.

instrument-cue-name.ly

Instrument names (aligned on axis group spanners) ignore dynamic and pedal line spanners.

instrument-name-dynamic.ly

Instrument names can also be attached to staff groups.