4 Fixes and changes after 2.16.0
5 ==============================
8 Please refer to the bug tracker for issues fixed in 2.16.1
9 (http://code.google.com/p/lilypond/issues/list?can=1&q=Fixed_2_16_1).
11 New features in 2.16 since 2.14
12 ===============================
14 * Support for cross-staff stems on chords, using `crossStaff' and
15 the `Span_stem_engraver'. This calculates the length of
16 cross-staff stems automatically.
21 * The syntax of words (character sequences recognized without
22 enclosing quotes) and commands (now always a backslash `\'
23 followed by a word) has been unified across all modes: it now
24 consists of alphabetic characters, possibly enclosing isolated
25 dashes `-' and underlines `_'.
27 As one consequence, using unquoted text scripts like (literally!)
28 { c-script c\f_script }
29 will now tend to result in invalid music. Omitting quote marks
30 for arbitrary text rather than keywords has never been good
31 practice or even documented, and it is unlikely to have seen
34 Staying with established conventions (like not using dashes or
35 underlines for command names intended to be used inside of music)
36 remains advisable. The reason for this change is more robust
37 recognition of LilyPond's lexical units for LilyPond itself as
38 well as external tools interpreting its syntax.
40 * Support for Kievan square notation:
50 * Augmentation dots now avoid the other voice in two-voice polyphony
51 so that users can move the `Dot_column_engraver' to set dots
52 independently for each `Voice'.
57 * A Scheme function to adjust the control points of curves such as
58 slurs and ties, developed by several users, is now included in
62 \shape Slur #'((-0.5 . 1.5) (-3 . 0) (0 . 0) (0 . 0))
67 * Use of `\tempo' specifications in `\midi' blocks (removed in
68 2.9.16 in favor of explicit `tempoWholesPerMinute' settings) has
69 seen a revival: now any kind of property-setting music is turned
70 into context definitions within output specifications, allowing for
72 \layout { \accidentalStyle modern }
73 \midi { \tempo 4. = 66 }
75 * The LilyPond G clef has been redesigned - upper loop is now more
76 balanced, bottom crook sticks out less and the "spine" (main
77 vertical line) is more evenly curved. The old and new versions can
78 be compared by looking at the documentation: old version
79 (http://lilypond.org/doc/v2.14/Documentation/notation/the-feta-font.html#clef-glyphs),
81 (http://lilypond.org/doc/v2.15/Documentation/notation/the-feta-font.html#clef-glyphs).
83 * Lilypond's stencil commands have been simplified to allow for less
84 code duplication and better height approximations of graphical
85 objects. The following stencil commands have been eliminated:
102 * Flags are now treated as separate objects rather than as stem
108 * Two alternative methods for bar numbering can be set, especially
109 for when using repeated music;
114 * The following is a fundamental change in LilyPond's music
115 representation: Rhythmic events like `LyricEvent' and `NoteEvent'
116 are no longer wrapped in `EventChord' unless they have been
117 actually entered as part of a chord in the input. If you
118 manipulate music expressions in Scheme, the new behavior may
119 require changes in your code. Calling the music function
120 `\eventChords' or the Scheme function `event-chord-wrap!'
121 converts to the old representation; using one of those might be
122 easiest for keeping legacy code operative.
124 The following three items are consequences of this change.
126 * The repetitive chord entry aid `q' has been reimplemented.
127 Repeated chords are now replaced right before interpreting a music
128 expression. In case the user wants to retain some events of the
129 original chord, he can run the repeat chord replacement function
130 `\chordRepeats' manually.
132 * String numbers and right hand fingerings on single notes now appear
133 without having to be written inside of chord brackets.
135 * Music functions now work the same when used inside or outside of
136 chords, including all the possibilities of argument parsing.
137 Music variables can be used inside of chords: a construct like
140 { <\tonic \transpose c g \tonic> }
144 now works as expected. One can use `#{...#}' for constructing
145 chord constituents. `\tweak' now works on single notes without
146 needing to wrap them in a chord. Using it on command events and
147 lyrics is now possible, but not likely to give results yet.
149 * `\tweak' now takes an optional layout object specification. It can
150 be used for tweaking layout objects that are only indirectly
151 caused by the tweaked event, like accidentals, stems, and flags:
153 <\tweak Accidental #'color #red cis4
154 \tweak Accidental #'color #green es
159 * Scheme expressions inside of embedded Lilypond (`#{...#}') are now
160 executed in lexical closure of the surrounding Scheme code. `$'
161 is no longer special in embedded Lilypond. It can be used
162 unconditionally in Lilypond code for immediate evaluation of Scheme
163 expressions, similar to how `ly:export' could previously be used.
164 `ly:export' has been removed. As a consequence, `#' is now free
165 to delay evaluation of its argument until the parser actually
166 reduces the containing expression, greatly reducing the potential
167 for premature evaluation. There are also `splicing' operators `$@'
168 and `#@' for interpreting the members of a list individually.
170 * To reduce the necessity for using `$', Scheme expressions written
171 with `#' are interpreted as music inside of music lists, and as
172 markups or markup lists inside of markups.
174 * Support for jazz-like chords has been improved: Lydian and altered
175 chords are recognised; separators between chord modifiers are now
176 treated independently of separators between "slash" chords and
177 their bass notes (and by default, slashes are now only used for
178 the latter type of separator); additional pitches are no longer
179 prefixed with "add" by default; and the "m" in minor chords can be
180 customized. *note Customizing chord names:
181 (lilypond-notation)Customizing chord names. for more information.
183 * The `\markuplines' command has been renamed to `\markuplist' for a
184 better match with its semantics and general Lilypond nomenclature.
186 * The interface for specifying string tunings in tablature has been
187 simplified considerably and employs the scheme function
188 `\stringTuning' for most purposes.
190 * Beams can now have their slopes preserved over line breaks.
195 To do this, several callback functions are now deprecated.
196 * `ly:beam::calc-least-squares-positions'
198 * `ly:beam::slope-damping'
200 * `ly:beam::shift-region-to-valid'
201 Furthermore, `ly:beam::quanting' now takes an additional argument
202 to help calculations over line breaks. All of these functions are
203 now automatically called when setting the `positions' parameter.
205 * In function arguments music, markups and Scheme expressions (as
206 well as several other syntactic entities) have become mostly
207 interchangeable and are told apart only by evaluating the
208 respective predicate. In several cases, the predicate is
209 consulted by the parser, like when deciding whether to interpret
210 `-3' as a number or a fingering event.
212 * Music functions (and their close relatives) can now be defined with
215 * For defining commands executed only for their side-effects,
216 `define-void-function' is now available.
218 * There is a new `define-event-function' command in analogy to
219 `define-music-function' that can be used for defining music
220 functions acting as post events without requiring a direction
221 specifier (`-', `^', or `_') placed before them.
223 dyn=#(define-event-function (parser location arg) (markup?)
224 (make-dynamic-script arg))
225 \relative c' { c\dyn pfsss }
229 * A list of ASCII aliases for special characters can be included.
232 #(include-special-characters)
234 \markup "• † ©right; &OE; &ss; ¶"
238 * There is a new `define-scheme-function' command in analogy to
239 `define-music-function' that can be used to define functions
240 evaluating to Scheme expressions while accepting arguments in
243 * The construct `#{ ... #}' can now be used not just for
244 constructing sequential music lists, but also for pitches
245 (distinguished from single note events by the absence of a
246 duration or other information that can't be part of a pitch),
247 single music events, void music expressions, post events, markups
248 (mostly freeing users from having to use the `markup' macro),
249 markup lists, number expressions, context definitions and
250 modifications, and a few other things. If it encloses nothing or
251 only a single music event, it no longer returns a sequential music
252 list but rather a void music expression or just the music event
253 itself, respectively.
255 * Pitches can be used on the right side of assignments. They are
256 distinguished from single note events by the absence of a duration
257 or other information that can't be part of a pitch.
259 * New command-line option `--loglevel=LEVEL' to control how much
260 output LilyPond creates. Possible values are ERROR, WARN,
261 BASIC_PROGRESS, PROGRESS, DEBUG.
263 * `\once \set' now correctly resets the property value to the
269 * The alignment of dynamic spanners (hairpins, text crescendo, etc.)
270 is now automatically broken if a different direction is explicitly
276 * Appoggiaturas and acciaccaturas now also work inside a slur, not
277 only inside a phrasing slur. Also, a function `\slashedGrace' was
278 added that does not use a slur from the acciaccatura note.
283 * To suppress the line on a crescendo text spanner (and other
284 similar spanners), LilyPond now fully supports the `#'style =
290 * LilyPond.app now supports MacOS X 10.7, thanks Christian Hitz!
292 * Glissandi can now span multiple lines.