* only show user-visible changes.
@end ignore
+@item
+Support for Kievan square notation:
+@lilypond[quote,relative=1,verbatim]
+\new KievanVoice {
+ \cadenzaOn
+ c d e f g a bes
+ \bar "kievan"
+}
+@end lilypond
+
+@item
+Augmentation dots now avoid the other voice in two-voice polyphony
+so that users can move the @code{Dot_column_engraver} to set dots
+independently for each @code{Voice}.
+@lilypond[quote]
+\layout {
+ \context {
+ \Staff
+ \remove Dot_column_engraver
+ } \context {
+ \Voice
+ \consists Dot_column_engraver
+ }
+}
+\relative c'' <<
+ { \time 6/8
+ <d f g>4. <d f g> <f, g> b
+ } \\ {
+ <f g b>4. <g b d> <b d> <e, g>
+ } >>
+@end lilypond
+
+@item
+A Scheme function to adjust the control points of curves such as slurs
+and ties, developed by several users, is now included in LilyPond.
+@lilypond[quote,verbatim,relative=2]
+g8->( bes,-.) d4
+\shape Slur #'((-0.5 . 1.5) (-3 . 0) (0 . 0) (0 . 0))
+g8->( bes,!-.) d4
+@end lilypond
+
+@item
+Use of @code{\tempo} specifications in @code{\midi} blocks (removed in
+2.9.16 in favor of explicit @code{tempoWholesPerMinute} settings) has
+seen a revival: now any kind of property-setting music is turned into
+context definitions within output specifications, allowing for
+declarations like
+@example
+\layout @{ \accidentalStyle modern @}
+\midi @{ \tempo 4. = 66 @}
+@end example
+
+@item
+The LilyPond G clef has been redesigned - upper loop is now more balanced,
+bottom crook sticks out less and the "spine" (main vertical line) is more
+evenly curved. The old and new versions can be compared by looking at the
+documentation:
+@uref{http://lilypond.org/doc/v2.14/Documentation/notation/the-feta-font.html#clef-glyphs, old version},
+@uref{http://lilypond.org/doc/v2.15/Documentation/notation/the-feta-font.html#clef-glyphs, new version}.
+
+@item
+Lilypond's stencil commands have been simplified to allow for less code
+duplication and better height approximations of graphical objects. The
+following stencil commands have been eliminated:
+@itemize
+@item @code{beam}
+@item @code{bezier-sandwich}
+@item @code{bracket}
+@item @code{dashed-slur}
+@item @code{dot}
+@item @code{oval}
+@item @code{repeat-slash}
+@item @code{zigzag-line}
+@end itemize
@item
Flags are now treated as separate objects rather than as stem parts.
@code{NoteEvent} are no longer wrapped in @code{EventChord} unless they
have been actually entered as part of a chord in the input. If you
manipulate music expressions in Scheme, the new behavior may require
-changes in your code. The advantages of making input and music match
-more closely are numerous: music functions previously worked differently
-when used inside or outside of chords. Now they are the same, including
-all the possibilities of argument parsing. You can now use music
-variables inside of chords: a construct like
+changes in your code. Calling the music function @code{\eventChords} or
+the Scheme function @code{event-chord-wrap!} converts to the old
+representation; using one of those might be easiest for keeping legacy
+code operative.
+
+The following three items are consequences of this change.
+
+@item
+The repetitive chord entry aid @code{q} has been reimplemented.
+Repeated chords are now replaced right before interpreting a music
+expression. In case the user wants to retain some events of the
+original chord, he can run the repeat chord replacement function
+@code{\chordRepeats} manually.
+
+@item
+String numbers and right hand fingerings on single notes now appear
+without having to be written inside of chord brackets.
+
+@item
+Music functions now work the same when used inside or outside of chords,
+including all the possibilities of argument parsing. Music variables
+can be used inside of chords: a construct like
@lilypond[verbatim,quote,ragged-right]
tonic=fis'
{ <\tonic \transpose c g \tonic> }
@end lilypond
@noindent
-would have been unthinkable previously. You can use
-@code{#@{@dots{}#@}} for constructing chord constituents. Music
-functions inside of chords are no longer specially treated and thus
-accept the same arguments as outside of chords. @code{\tweak} now works
-on single notes without needing to wrap them in a chord. In theory, it
-can also work on command events and lyrics now. Since that was not
-possible before, it depends on luck on a case-by-case basis whether the
-tweak internals are already receiving the necessary information. Users
-are asked to report those cases where they find @code{\tweak} not
-working according to reasonable expectations.
+now works as expected. One can use @code{#@{@dots{}#@}} for
+constructing chord constituents. @code{\tweak} now works on single
+notes without needing to wrap them in a chord. Using it on command
+events and lyrics is now possible, but not likely to give results yet.
@item
-As one consequence, it was possible to reimplement the repetitive chord
-entry aid @code{q}. Repeated chords are now replaced right before
-interpreting a music expression. In case the user wants to retain
-some events of the original chord, he can run the repeat chord
-replacement function @code{\chordRepeats} manually.
+@code{\tweak} now takes an optional layout object specification. It can
+be used for tweaking layout objects that are only indirectly caused by
+the tweaked event, like accidentals, stems, and flags:
+
+@lilypond[verbatim,quote,ragged-right,relative=2]
+<\tweak Accidental #'color #red cis4
+ \tweak Accidental #'color #green es
+ g>
+@end lilypond
@item
Scheme expressions inside of embedded Lilypond (@code{#@{@dots{}#@}})
are now executed in lexical closure of the surrounding Scheme code.
@code{$} is no longer special in embedded Lilypond. It can be used
-unconditionally in Lilypond code for immediate evaluation, similar to
-how @code{ly:export} could previously be used. @code{ly:export} has
-been removed. As a consequence, @code{#} is now free to delay
-evaluation of its argument until the parser actually reduces the
-containing expression, greatly reducing the potential for premature
-evaluation.
+unconditionally in Lilypond code for immediate evaluation of Scheme
+expressions, similar to how @code{ly:export} could previously be used.
+@code{ly:export} has been removed. As a consequence, @code{#} is now
+free to delay evaluation of its argument until the parser actually
+reduces the containing expression, greatly reducing the potential for
+premature evaluation. There are also @q{splicing} operators @code{$@@}
+and @code{#@@} for interpreting the members of a list individually.
@item
Support for jazz-like chords has been improved: Lydian and altered
@item
The interface for specifying string tunings in tablature has been
-simplified considerably.
+simplified considerably and employs the scheme function
+@code{\stringTuning} for most purposes.
@item
Beams can now have their slopes preserved over line breaks.
automatically called when setting the @code{positions} parameter.
@item
-In function arguments music, markups and Scheme expressions (as well
-as several other syntactic entities) have become mostly
-interchangeable and are told apart only by evaluating the respective
-predicate.
+In function arguments music, markups and Scheme expressions (as well as
+several other syntactic entities) have become mostly interchangeable and
+are told apart only by evaluating the respective predicate. In several
+cases, the predicate is consulted by the parser, like when deciding
+whether to interpret @code{-3} as a number or a fingering event.
@item
Music functions (and their close relatives) can now be defined with
@item
The construct @code{#@{ @dots{} #@}} can now be used not just for
-constructing sequential music lists, but also for single music events,
-void music expressions, post events, markups (mostly freeing users from
+constructing sequential music lists, but also for pitches (distinguished
+from single note events by the absence of a duration or other
+information that can't be part of a pitch), single music events, void
+music expressions, post events, markups (mostly freeing users from
having to use the @code{markup} macro), markup lists, number
expressions, context definitions and modifications, and a few other
things. If it encloses nothing or only a single music event, it no
longer returns a sequential music list but rather a void music
expression or just the music event itself, respectively.
+@item
+Pitches can be used on the right side of assignments. They are
+distinguished from single note events by the absence of a duration or
+other information that can't be part of a pitch.
+
@item
New command-line option @option{--loglevel=@var{level}} to control how much output
LilyPond creates. Possible values are ERROR, WARN, BASIC_PROGRESS, PROGRESS, DEBUG.
@item
-@code{\set \once} now correctly resets the property value to the previous value.
+@code{\once \set} now correctly resets the property value to the previous value.
@lilypond[fragment,quote,relative=2]
\set fingeringOrientations = #'(left)
<e-1>4
projects / lilypond.git / blobdiff