--- /srv/reproducible-results/rbuild-debian/r-b-build.g8hjYgRi/b1/pmw_5.22-1_amd64.changes +++ /srv/reproducible-results/rbuild-debian/r-b-build.g8hjYgRi/b2/pmw_5.22-1_amd64.changes ├── Files │ @@ -1,4 +1,4 @@ │ │ 5e98c7a7b3545212424ef7e16b33d90f 506532 debug optional pmw-dbgsym_5.22-1_amd64.deb │ - 01e80e8a7c4940e97477a8c326c4aea2 942176 doc optional pmw-doc_5.22-1_all.deb │ + 445ecc4ca4b5f3494c7aadbae83e726c 934916 doc optional pmw-doc_5.22-1_all.deb │ 3ae2053da32de4e5d8e9ddb30da1d271 411872 tex optional pmw_5.22-1_amd64.deb ├── pmw-doc_5.22-1_all.deb │ ├── file list │ │ @@ -1,3 +1,3 @@ │ │ -rw-r--r-- 0 0 0 4 2023-12-22 00:05:36.000000 debian-binary │ │ --rw-r--r-- 0 0 0 2528 2023-12-22 00:05:36.000000 control.tar.xz │ │ --rw-r--r-- 0 0 0 939456 2023-12-22 00:05:36.000000 data.tar.xz │ │ +-rw-r--r-- 0 0 0 2524 2023-12-22 00:05:36.000000 control.tar.xz │ │ +-rw-r--r-- 0 0 0 932200 2023-12-22 00:05:36.000000 data.tar.xz │ ├── control.tar.xz │ │ ├── control.tar │ │ │ ├── ./control │ │ │ │ @@ -1,13 +1,13 @@ │ │ │ │ Package: pmw-doc │ │ │ │ Source: pmw │ │ │ │ Version: 1:5.22-1 │ │ │ │ Architecture: all │ │ │ │ Maintainer: Wouter Verhelst │ │ │ │ -Installed-Size: 1019 │ │ │ │ +Installed-Size: 1012 │ │ │ │ Depends: pmw │ │ │ │ Section: doc │ │ │ │ Priority: optional │ │ │ │ Homepage: https://philiphazel.github.io/pmw/ │ │ │ │ Description: Philip's Music Writer - Documentation │ │ │ │ This package contains the documentation, in PDF format, of pmw, as well │ │ │ │ as a number of examples. │ │ │ ├── ./md5sums │ │ │ │ ├── ./md5sums │ │ │ │ │┄ Files differ │ │ ├── xz --list │ │ │ @@ -1,13 +1,13 @@ │ │ │ Streams: 1 │ │ │ Blocks: 1 │ │ │ - Compressed size: 2528 B │ │ │ + Compressed size: 2524 B │ │ │ Uncompressed size: 20.0 KiB (20480 B) │ │ │ Ratio: 0.123 │ │ │ Check: CRC64 │ │ │ Stream Padding: 0 B │ │ │ Streams: │ │ │ Stream Blocks CompOffset UncompOffset CompSize UncompSize Ratio Check Padding │ │ │ - 1 1 0 0 2528 20480 0.123 CRC64 0 │ │ │ + 1 1 0 0 2524 20480 0.123 CRC64 0 │ │ │ Blocks: │ │ │ Stream Block CompOffset UncompOffset TotalSize UncompSize Ratio Check │ │ │ - 1 1 12 0 2492 20480 0.122 CRC64 │ │ │ + 1 1 12 0 2488 20480 0.121 CRC64 │ ├── data.tar.xz │ │ ├── data.tar │ │ │ ├── file list │ │ │ │ @@ -85,10 +85,10 @@ │ │ │ │ -rw-r--r-- 0 root (0) root (0) 171 2023-12-21 17:01:20.000000 ./usr/share/doc/pmw-doc/examples/ex65 │ │ │ │ -rw-r--r-- 0 root (0) root (0) 224 2023-12-21 17:01:20.000000 ./usr/share/doc/pmw-doc/examples/ex66 │ │ │ │ -rw-r--r-- 0 root (0) root (0) 175 2023-12-21 17:01:20.000000 ./usr/share/doc/pmw-doc/examples/ex67 │ │ │ │ -rw-r--r-- 0 root (0) root (0) 1045 2023-12-21 17:01:20.000000 ./usr/share/doc/pmw-doc/examples/ex68 │ │ │ │ -rw-r--r-- 0 root (0) root (0) 154 2023-12-21 17:01:20.000000 ./usr/share/doc/pmw-doc/examples/ex69 │ │ │ │ -rw-r--r-- 0 root (0) root (0) 171 2023-12-21 17:01:20.000000 ./usr/share/doc/pmw-doc/examples/ex70 │ │ │ │ -rw-r--r-- 0 root (0) root (0) 103 2023-12-21 17:01:20.000000 ./usr/share/doc/pmw-doc/examples/ex71 │ │ │ │ --rw-r--r-- 0 root (0) root (0) 901891 2023-12-22 00:05:36.000000 ./usr/share/doc/pmw-doc/spec.pdf.gz │ │ │ │ +-rw-r--r-- 0 root (0) root (0) 894707 2023-12-22 00:05:36.000000 ./usr/share/doc/pmw-doc/spec.pdf.gz │ │ │ │ drwxr-xr-x 0 root (0) root (0) 0 2023-12-22 00:05:36.000000 ./usr/share/doc-base/ │ │ │ │ -rw-r--r-- 0 root (0) root (0) 230 2023-08-26 10:37:00.000000 ./usr/share/doc-base/pmw-doc.pmw-doc │ │ │ ├── ./usr/share/doc/pmw-doc/spec.pdf.gz │ │ │ │ ├── spec.pdf │ │ │ │ │ ├── pdftotext {} - │ │ │ │ │ │ @@ -1060,15 +1060,15 @@ │ │ │ │ │ │ standard accidental notation in PMW. A sharp is represented by the character #, which is easily │ │ │ │ │ │ remembered. Unfortunately, there are no keys on the computer keyboard that resemble flats or naturals, so instead the two keys that are next to # on some keyboards were chosen: $ for a flat (think │ │ │ │ │ │ ‘dollar’ for ‘down’) and % for a natural. For example, the key signatures C sharp minor and G flat │ │ │ │ │ │ major are coded as C#m and G$ respectively. │ │ │ │ │ │ time 3/4 │ │ │ │ │ │ The sixth directive sets the time signature. If no time signature is given, 4/4 is assumed. As well as the │ │ │ │ │ │ usual numeric time signatures, the letters C and A can be given, signifying ‘common’ and ‘alla breve’ │ │ │ │ │ │ -time. These are output as ^ and _ respectively. │ │ │ │ │ │ +time. These are output as C and _ respectively. │ │ │ │ │ │ unfinished │ │ │ │ │ │ │ │ │ │ │ │ The final directive tells PMW that this is not a complete piece of music; this stops it from putting a │ │ │ │ │ │ thick bar line at the end. The header ends and the stave data begins with the first line that starts with a │ │ │ │ │ │ square bracket: │ │ │ │ │ │ [stave 1 treble 1 text underlay] │ │ │ │ │ │ You will notice that a bit further down there is a line containing just [endstave]. This marks the end of │ │ │ │ │ │ @@ -2645,15 +2645,15 @@ │ │ │ │ │ │ the start of a slur up and to the right one might have &sa(/u4/r2). There is also a macro called es │ │ │ │ │ │ to end a slur, where again options may be given as an argument. │ │ │ │ │ │ 7.3.3 Octavo marks │ │ │ │ │ │ The macros S8a and S8b notate the start of an ‘8va’ marking above or below the stave, respectively, │ │ │ │ │ │ with E8a and E8b marking the end. There a discussion of how these work below (☞ 11.12.5). │ │ │ │ │ │ 7.3.4 Piano pedal marks │ │ │ │ │ │ │ │ │ │ │ │ -The macro ped puts a conventional £ sign below the stave, and pedstar outputs $. There also │ │ │ │ │ │ +The macro ped puts a conventional £ sign below the stave, and pedstar outputs ⋆. There also │ │ │ │ │ │ three macros for pedal markings with horizontal lines: &pedline follows £ with a horizontal line │ │ │ │ │ │ that continues till &pedend is reached. Intermediate ‘blips’ can be created with &pedblip. Here is │ │ │ │ │ │ a simple example: │ │ │ │ │ │ &ped C e &pedstar g | &pedline Cdg | &pedblip geC &pedend | │ │ │ │ │ │ │ │ │ │ │ │ 4 3 6 6 3 5 6 6 6 3 │ │ │ │ │ │ 4 │ │ │ │ │ │ @@ -3241,36 +3241,36 @@ │ │ │ │ │ │ for individual staves is specified with [transpose]. If more than one transposition is present, the effect │ │ │ │ │ │ is cumulative. │ │ │ │ │ │ PMW transposes key signatures as well as notes, but there is a special pseudo-key N that does not │ │ │ │ │ │ transpose. This is described below. Custom key signatures (X1 to X10) can be transposed, but │ │ │ │ │ │ additional information, supplied by one or more keytranspose directives (☞ 10.1.59), must be supplied for this to work. │ │ │ │ │ │ A piece that is to be transposed should be input with its original key signature(s) specified in the usual │ │ │ │ │ │ way. When [transpose] is used to transpose a single stave, only those key signatures that follow the │ │ │ │ │ │ -directive in the input are transposed. When transposing a non-custom key signature, the key Fzz% major │ │ │ │ │ │ -is used in transposed output only if specially requested via the transposedkey directive, Gz ' being │ │ │ │ │ │ +directive in the input are transposed. When transposing a non-custom key signature, the key Fzz♯ major │ │ │ │ │ │ +is used in transposed output only if specially requested via the transposedkey directive, Gz ♭ being │ │ │ │ │ │ used by default. A number of other keys are also not used by default but can be specially requested. │ │ │ │ │ │ The complete list is as follows: │ │ │ │ │ │ -Czz' major instead of the default │ │ │ │ │ │ -Cz % major │ │ │ │ │ │ +Czz♭ major instead of the default │ │ │ │ │ │ +Cz ♯ major │ │ │ │ │ │ " │ │ │ │ │ │ -Fz % major │ │ │ │ │ │ +Fz ♯ major │ │ │ │ │ │ " │ │ │ │ │ │ -Azz' minor │ │ │ │ │ │ +Azz♭ minor │ │ │ │ │ │ " │ │ │ │ │ │ -Az % minor │ │ │ │ │ │ +Az ♯ minor │ │ │ │ │ │ " │ │ │ │ │ │ -Dz % minor │ │ │ │ │ │ +Dz ♯ minor │ │ │ │ │ │ " │ │ │ │ │ │ │ │ │ │ │ │ B major │ │ │ │ │ │ -Dzz' major │ │ │ │ │ │ -Gzz' major │ │ │ │ │ │ -Gzz% minor │ │ │ │ │ │ -Bzz' minor │ │ │ │ │ │ -Ezz' minor │ │ │ │ │ │ +Dzz♭ major │ │ │ │ │ │ +Gzz♭ major │ │ │ │ │ │ +Gzz♯ minor │ │ │ │ │ │ +Bzz♭ minor │ │ │ │ │ │ +Ezz♭ minor │ │ │ │ │ │ │ │ │ │ │ │ The transposedkey directive also has uses when transposing music in which the key signature has │ │ │ │ │ │ fewer accidentals than the tonality. │ │ │ │ │ │ Except when using the pseudo-key N, if a note is specified with an accidental, an accidental will │ │ │ │ │ │ always be present by default after transposition, whether or not it is strictly necessary. This ensures │ │ │ │ │ │ that ‘cautionary accidentals’ are preserved over transposition. There is an option to suppress this │ │ │ │ │ │ action for individual notes, and the [transposedacc] and transposedacc directives can be used to │ │ │ │ │ │ @@ -3291,37 +3291,37 @@ │ │ │ │ │ │ • If the new note’s accidental is redundant, discard it, except in one specific circumstance: when a │ │ │ │ │ │ note that is notated with a natural is the first non-tied note in the bar. The reasoning behind this is │ │ │ │ │ │ that the original natural must be ‘cautionary’. Apart from this special case, the behaviour is as if │ │ │ │ │ │ [transposedacc noforce] has been applied. However, an accidental can be forced for individual │ │ │ │ │ │ notes by following the original accidental with ^+, for example #^+a. │ │ │ │ │ │ • Do not use double sharps or double flats unless the original note had a double sharp or double flat, │ │ │ │ │ │ respectively. │ │ │ │ │ │ -• Convert new notes Ezz% and Bzz% into F and C, respectively. │ │ │ │ │ │ -• Convert new notes Czz' and Fzz' into B and E respectively. │ │ │ │ │ │ +• Convert new notes Ezz♯ and Bzz♯ into F and C, respectively. │ │ │ │ │ │ +• Convert new notes Czz♭ and Fzz♭ into B and E respectively. │ │ │ │ │ │ 8.10.2 Transposition of key and chord names │ │ │ │ │ │ PMW can automatically transpose the names of standard keys and chords in text strings. This is │ │ │ │ │ │ achieved by means of a special escape sequence \t. │ │ │ │ │ │ "Sonata in \tE$" │ │ │ │ │ │ │ │ │ │ │ │ -In this example, the sequence \tE$ is replaced by Ez ' when no transposition is taking place and by F │ │ │ │ │ │ +In this example, the sequence \tE$ is replaced by Ez ♭ when no transposition is taking place and by F │ │ │ │ │ │ when a transposition of +2 is set. Full details of string escape sequences, including key and chord │ │ │ │ │ │ name transpostion, are given in section 8.15. │ │ │ │ │ │ │ │ │ │ │ │ 8.11 Time signatures │ │ │ │ │ │ Time signatures are specified by separating two numbers with a slash. For example, 3/4 specifies │ │ │ │ │ │ waltz time. PMW imposes no limitations on the values of the numbers used in time signatures. There │ │ │ │ │ │ are two special time signatures that are specified as letters: │ │ │ │ │ │ -• The letter C specifies ‘common time’ – equivalent to 4/4 but output using the conventional character ^. │ │ │ │ │ │ +• The letter C specifies ‘common time’ – equivalent to 4/4 but output using the conventional character C. │ │ │ │ │ │ │ │ │ │ │ │ • The letter A specifies ‘alla breve’ – equivalent to 2/2 but output using the conventional ‘cut time’ │ │ │ │ │ │ character _. │ │ │ │ │ │ │ │ │ │ │ │ A time signature can be preceded by a number and an asterisk. This has the effect of multiplying the │ │ │ │ │ │ number of notes in the bar for the purposes of checking bar lengths. However, the time signature is │ │ │ │ │ │ -output as given. Thus, for example, the time signature 2*C is shown as ^, but expects there to be four │ │ │ │ │ │ +output as given. Thus, for example, the time signature 2*C is shown as C, but expects there to be four │ │ │ │ │ │ minims rather than four crotchets in a bar, and 2*3/4 is shown as 3/4 but expects three minims in a │ │ │ │ │ │ bar. │ │ │ │ │ │ There are options for suppressing time signatures at various places, and the printtime directive can be │ │ │ │ │ │ used to specify exactly how certain time signatures are to be shown. For example, 8/8 could appear as │ │ │ │ │ │ 3+3+2/8, or only a single, large number could be used. │ │ │ │ │ │ By default, numerical time signatures use the bold font. However, the timefont header directive can │ │ │ │ │ │ specify an alternative. In addition, if printtime is used, the normal font-changing escape sequences │ │ │ │ │ │ @@ -3738,16 +3738,16 @@ │ │ │ │ │ │ When a string that involves a transposable name appears in a heading or footing line, only external │ │ │ │ │ │ transposition specified by the -t command line option plus any transpose header directives that are │ │ │ │ │ │ earlier in file are applied to it, because the transposition is performed when the string is read. It is also │ │ │ │ │ │ important to specify the key signature before the transposable heading or footing, in case it affects the │ │ │ │ │ │ result. For example, consider this directive: │ │ │ │ │ │ heading "Sonata in \tC minor" │ │ │ │ │ │ If no key is specified before this line in an input file, and a transposition of +1 is applied, the result is │ │ │ │ │ │ -‘Sonata in Dzz' minor’, because PMW assumes the key of C major. However, if the key is set to C │ │ │ │ │ │ -minor before the heading line, the result of transposing by +1 is ‘Sonata in Czz% minor’. │ │ │ │ │ │ +‘Sonata in Dzz♭ minor’, because PMW assumes the key of C major. However, if the key is set to C │ │ │ │ │ │ +minor before the heading line, the result of transposing by +1 is ‘Sonata in Czz♯ minor’. │ │ │ │ │ │ 8.15.8 The transposition setting │ │ │ │ │ │ Another use for the \t escape sequence is to insert the transposition value into a string. In this case, │ │ │ │ │ │ \t must be followed by a backslash. For example: │ │ │ │ │ │ heading "(Transposed by \t\ semitones)" │ │ │ │ │ │ The insertion happens when the string is read. │ │ │ │ │ │ 8.15.9 Font changes │ │ │ │ │ │ Roman, italic, bold and bold italic fonts are available for all text. By default, these use the Times │ │ │ │ │ │ @@ -5491,15 +5491,15 @@ │ │ │ │ │ │ PMW puts a double bar line before a change of key by default. The keysinglebar directive can be │ │ │ │ │ │ used to request a single bar line instead; keydoublebar can be used to reset the default for a new │ │ │ │ │ │ movement. │ │ │ │ │ │ 10.1.59 Keytranspose │ │ │ │ │ │ When transposing a piece, for each transposition amount, PMW needs to know two things: the new │ │ │ │ │ │ key and the number of letter changes for each note. For the standard keys this information is built in. │ │ │ │ │ │ For example, if you transpose the key of B up by a semitone, the result is C, and every note has its │ │ │ │ │ │ -letter name increased by one, whereas if the transposition is down a semitone, the new key is Bz ' with │ │ │ │ │ │ +letter name increased by one, whereas if the transposition is down a semitone, the new key is Bz ♭ with │ │ │ │ │ │ no change of letter. │ │ │ │ │ │ For custom keys defined by the makekey directive (☞ 10.1.69) the transposition information must be │ │ │ │ │ │ explicitly supplied in one or more keytranspose directives. This directive is followed by the name of │ │ │ │ │ │ a key and then any number of triples that specify a transposition amount, a new key, and the number │ │ │ │ │ │ of letter changes. An equals sign and a slash are used as separators. For example: │ │ │ │ │ │ keytranspose X1 2=X2/1 -1=X3/0 │ │ │ │ │ │ This example specifies that if the custom key X1 is transposed up by 2 semitones, the new key is X2 │ │ │ │ │ │ @@ -6517,22 +6517,22 @@ │ │ │ │ │ │ If transposedacc is followed by the word ‘noforce’, it changes this behaviour such that accidentals │ │ │ │ │ │ are shown only when strictly necessary. The standard behaviour can be reinstated for subsequent │ │ │ │ │ │ movements by specifying ‘force’. There is also a [transposedacc] stave directive that can alter the │ │ │ │ │ │ behaviour within a single stave. It is possible to force either behaviour for individual notes (☞ │ │ │ │ │ │ 11.6.7). For the special treatment of the pseudo-key N, see section 8.10.1. │ │ │ │ │ │ 10.1.135 Transposedkey │ │ │ │ │ │ When there is a choice of standard key signature after transposition, PMW uses a fixed default. For │ │ │ │ │ │ -example, it uses the key of Gzz' rather than Fzz%. There is a complete list of the relevant key signatures │ │ │ │ │ │ +example, it uses the key of Gzz♭ rather than Fzz♯. There is a complete list of the relevant key signatures │ │ │ │ │ │ in section 8.10. This list also applies when key or chord names in strings are being transposed. The │ │ │ │ │ │ default can be overridden by specifying: │ │ │ │ │ │ transposedkey use │ │ │ │ │ │ This means ‘if transposing a key signature yields , use instead’. │ │ │ │ │ │ transposedkey G$ use F# │ │ │ │ │ │ │ │ │ │ │ │ -This example ensures transposition into Fzz% instead of Gz '. A transposition of zero is different to no │ │ │ │ │ │ +This example ensures transposition into Fzz♯ instead of Gz ♭. A transposition of zero is different to no │ │ │ │ │ │ transposition at all, and if it is specified, any settings of transposedkey are consulted. This makes it │ │ │ │ │ │ easy to process the same piece of music with or without a key signature. The transposedkey directive │ │ │ │ │ │ has other uses when transposing music that is notated using the 18th century convention of fewer │ │ │ │ │ │ accidentals in the key signature than in the tonality. It makes it possible to format the transposed │ │ │ │ │ │ music either with a modern key signature, or using the same convention. │ │ │ │ │ │ 10.1.136 Trillstring │ │ │ │ │ │ │ │ │ │ │ │ @@ -7536,15 +7536,15 @@ │ │ │ │ │ │ The options that start with the letter n adjust the notehead setting for an individual note. The default is │ │ │ │ │ │ set by the [noteheads] stave directive, whose description contains the full details (☞ 12.2.57). In a │ │ │ │ │ │ chord, these options apply only to the note on which they appear, so it is possible to have a mixture of │ │ │ │ │ │ noteheads in a chord. │ │ │ │ │ │ 11.6.18 General accent notation │ │ │ │ │ │ The item \a\ is a general notation for specifying accents. The values that may take are: │ │ │ │ │ │ 1 staccato dot > │ │ │ │ │ │ -2 horizontal bar T │ │ │ │ │ │ +2 horizontal bar ħ │ │ │ │ │ │ 3 horizontal wedge U │ │ │ │ │ │ 4 small, closed vertical wedge Y │ │ │ │ │ │ 5 large, open vertical wedge W │ │ │ │ │ │ 6 string down bow e │ │ │ │ │ │ 7 string up bow g │ │ │ │ │ │ 8 ring (harmonic) † │ │ │ │ │ │ 9 ‘start of bar’ accent œ │ │ │ │ │ │ @@ -8994,15 +8994,15 @@ │ │ │ │ │ │ 2 │ │ │ │ │ │ , │ │ │ │ │ │ @ │ │ │ │ │ │ ! │ │ │ │ │ │ CCCCCCCCCCCC │ │ │ │ │ │ @ │ │ │ │ │ │ │ │ │ │ │ │ -Character 136 is the ˆ character, and character 96 is the tilde `zzz, which gives a wiggly line when │ │ │ │ │ │ +Character 136 is the ˆ character, and character 96 is the tilde ˜zzz, which gives a wiggly line when │ │ │ │ │ │ repeated. The invisible final syllable is moved right eight points to ensure that the wiggly line covers │ │ │ │ │ │ the final note. If such features are required in several places in a piece, the best thing to do is to use │ │ │ │ │ │ the macro facility to save having to type the complicated strings each time. This approach is taken in │ │ │ │ │ │ the next example. │ │ │ │ │ │ The conventional octave mark of 8va followed by a line of dashes can be handled using an overlay │ │ │ │ │ │ string. However, it is normal to have a small ‘jog’ on the final dash to indicate the end of the section. │ │ │ │ │ │ To achieve this, an additional feature is available. If an underlay or overlay option string contains a │ │ │ │ │ │ @@ -9238,15 +9238,15 @@ │ │ │ │ │ │ 12.2.16 [Breakbarline] │ │ │ │ │ │ An occurrence of this directive causes the bar line at the end of the current bar not to be extended │ │ │ │ │ │ downwards onto the stave below, unless it is at the end of a system. See also [unbreakbarline]. │ │ │ │ │ │ 12.2.17 [Cbaritone] │ │ │ │ │ │ This specifies a C-clef on the 5-th stave line (☞ 12.1). │ │ │ │ │ │ 12.2.18 [Comma] │ │ │ │ │ │ │ │ │ │ │ │ -The [comma] directive inserts a comma zzzN pause mark above the current stave. See also [tick]. │ │ │ │ │ │ +The [comma] directive inserts a comma zzz, pause mark above the current stave. See also [tick]. │ │ │ │ │ │ 12.2.19 [Contrabass] │ │ │ │ │ │ This specifies a bass clef with a little ‘8’ below it (☞ 12.1). │ │ │ │ │ │ 12.2.20 [Copyzero] │ │ │ │ │ │ This directive takes a dimension as an argument, and adjusts the vertical level of any stave zero │ │ │ │ │ │ material in the current bar when stave zero (☞ 8.16) is overprinting the current stave. │ │ │ │ │ │ [copyzero 4] │ │ │ │ │ │ This example raises the stave zero material in the current bar by 4 points. It is not necessary for there │ │ │ │ │ │ @@ -12149,29 +12149,29 @@ │ │ │ │ │ │ 1.2 │ │ │ │ │ │ │ │ │ │ │ │ Char │ │ │ │ │ │ ! │ │ │ │ │ │ " │ │ │ │ │ │ # │ │ │ │ │ │ │ │ │ │ │ │ -$ │ │ │ │ │ │ -% │ │ │ │ │ │ +⋆ │ │ │ │ │ │ +♯ │ │ │ │ │ │ & │ │ │ │ │ │ -' │ │ │ │ │ │ -( │ │ │ │ │ │ +♭ │ │ │ │ │ │ +♮ │ │ │ │ │ │ ) │ │ │ │ │ │ │ │ │ │ │ │ * │ │ │ │ │ │ + │ │ │ │ │ │ , │ │ │ │ │ │ . │ │ │ │ │ │ / │ │ │ │ │ │ │ │ │ │ │ │ 0 │ │ │ │ │ │ -1 │ │ │ │ │ │ +˘ │ │ │ │ │ │ 2 │ │ │ │ │ │ │ │ │ │ │ │ 3 │ │ │ │ │ │ │ │ │ │ │ │ 4 │ │ │ │ │ │ │ │ │ │ │ │ 5 │ │ │ │ │ │ @@ -12403,37 +12403,37 @@ │ │ │ │ │ │ │ │ │ │ │ │ I │ │ │ │ │ │ J │ │ │ │ │ │ K │ │ │ │ │ │ │ │ │ │ │ │ L │ │ │ │ │ │ M │ │ │ │ │ │ -N │ │ │ │ │ │ +, │ │ │ │ │ │ O │ │ │ │ │ │ P │ │ │ │ │ │ Q │ │ │ │ │ │ R │ │ │ │ │ │ S │ │ │ │ │ │ -T │ │ │ │ │ │ +ħ │ │ │ │ │ │ U │ │ │ │ │ │ │ │ │ │ │ │ V │ │ │ │ │ │ W │ │ │ │ │ │ X │ │ │ │ │ │ Y │ │ │ │ │ │ Z │ │ │ │ │ │ │ │ │ │ │ │ [ │ │ │ │ │ │ │ │ │ │ │ │ \ │ │ │ │ │ │ ] │ │ │ │ │ │ -^ │ │ │ │ │ │ +C │ │ │ │ │ │ │ │ │ │ │ │ _ │ │ │ │ │ │ -` │ │ │ │ │ │ +˜ │ │ │ │ │ │ a │ │ │ │ │ │ b │ │ │ │ │ │ │ │ │ │ │ │ c │ │ │ │ │ │ d │ │ │ │ │ │ e │ │ │ │ │ │ │ │ │ │ │ │ @@ -12623,31 +12623,31 @@ │ │ │ │ │ │ 1.0 │ │ │ │ │ │ │ │ │ │ │ │ f │ │ │ │ │ │ g │ │ │ │ │ │ h │ │ │ │ │ │ i │ │ │ │ │ │ │ │ │ │ │ │ -j │ │ │ │ │ │ +7 │ │ │ │ │ │ │ │ │ │ │ │ -k │ │ │ │ │ │ +4 │ │ │ │ │ │ │ │ │ │ │ │ l │ │ │ │ │ │ │ │ │ │ │ │ m │ │ │ │ │ │ │ │ │ │ │ │ n │ │ │ │ │ │ o │ │ │ │ │ │ p │ │ │ │ │ │ q │ │ │ │ │ │ r │ │ │ │ │ │ │ │ │ │ │ │ -s │ │ │ │ │ │ +6 │ │ │ │ │ │ │ │ │ │ │ │ -t │ │ │ │ │ │ +ġ │ │ │ │ │ │ u │ │ │ │ │ │ │ │ │ │ │ │ € │ │ │ │ │ │ ‚ │ │ │ │ │ │ │ │ │ │ │ │ ƒ │ │ │ │ │ │ „ │ │ │ │ │ │ @@ -12661,15 +12661,15 @@ │ │ │ │ │ │ Œ │ │ │ │ │ │ │ │ │ │ │ │  │ │ │ │ │ │ │ │ │ │ │ │ Ž │ │ │ │ │ │  │ │ │ │ │ │  │ │ │ │ │ │ -‘ │ │ │ │ │ │ +ṽ │ │ │ │ │ │ ’ │ │ │ │ │ │ │ │ │ │ │ │ “ │ │ │ │ │ │ │ │ │ │ │ │ inverted down bow │ │ │ │ │ │ up bow │ │ │ │ │ │ inverted up bow │ │ │ │ │ │ @@ -12865,15 +12865,15 @@ │ │ │ │ │ │ │ │ │ │ │ │ ¯ │ │ │ │ │ │ │ │ │ │ │ │ ° │ │ │ │ │ │ │ │ │ │ │ │ ± │ │ │ │ │ │ ² │ │ │ │ │ │ -³ │ │ │ │ │ │ +5 │ │ │ │ │ │ │ │ │ │ │ │ ´ │ │ │ │ │ │ µ │ │ │ │ │ │ ¶ │ │ │ │ │ │ · │ │ │ │ │ │ ¸ │ │ │ │ │ │ │ │ │ │ │ │ @@ -12963,15 +12963,15 @@ │ │ │ │ │ │ 10.0 │ │ │ │ │ │ 10.0 │ │ │ │ │ │ 10.0 │ │ │ │ │ │ 10.0 │ │ │ │ │ │ │ │ │ │ │ │  │ │ │ │ │ │ à │ │ │ │ │ │ -Ä │ │ │ │ │ │ +ȉ │ │ │ │ │ │ Å │ │ │ │ │ │ Æ │ │ │ │ │ │ Ç │ │ │ │ │ │ │ │ │ │ │ │ È │ │ │ │ │ │ │ │ │ │ │ │ É │ │ ├── xz --list │ │ │ @@ -1,13 +1,13 @@ │ │ │ Streams: 1 │ │ │ Blocks: 1 │ │ │ - Compressed size: 917.4 KiB (939456 B) │ │ │ + Compressed size: 910.4 KiB (932200 B) │ │ │ Uncompressed size: 1020.0 KiB (1044480 B) │ │ │ - Ratio: 0.899 │ │ │ + Ratio: 0.893 │ │ │ Check: CRC64 │ │ │ Stream Padding: 0 B │ │ │ Streams: │ │ │ Stream Blocks CompOffset UncompOffset CompSize UncompSize Ratio Check Padding │ │ │ - 1 1 0 0 939456 1044480 0.899 CRC64 0 │ │ │ + 1 1 0 0 932200 1044480 0.893 CRC64 0 │ │ │ Blocks: │ │ │ Stream Block CompOffset UncompOffset TotalSize UncompSize Ratio Check │ │ │ - 1 1 12 0 939420 1044480 0.899 CRC64 │ │ │ + 1 1 12 0 932164 1044480 0.892 CRC64