* only show user-visible changes.
@end ignore
+
+@item
+Flags are now treated as separate objects rather than as stem parts.
+@lilypond[fragment,quote,relative=2]
+\override Flag #'color = #red
+g8
+@end lilypond
+
+@item
+Two alternative methods for bar numbering can be set, especially for
+when using repeated music;
+
+@lilypond[fragment,quote,relative=1,noragged-right]
+\relative c'{
+ \set Score.alternativeNumberingStyle = #'numbers
+ \repeat volta 3 { c4 d e f | }
+ \alternative {
+ { c4 d e f | c2 d \break }
+ { f4 g a b | f4 g a b | f2 a | \break }
+ { c4 d e f | c2 d }
+ }
+ c1 \break
+ \set Score.alternativeNumberingStyle = #'numbers-with-letters
+ \repeat volta 3 { c,4 d e f | }
+ \alternative {
+ { c4 d e f | c2 d \break }
+ { f4 g a b | f4 g a b | f2 a | \break }
+ { c4 d e f | c2 d }
+ }
+ c1
+}
+@end lilypond
+
+@item
+The following is a fundamental change in LilyPond's music
+representation: Rhythmic events like @code{LyricEvent} and
+@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
+@lilypond[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. String number
+indications like @code{\1} can be used on single notes. If you need to
+suppress them in some context, override their @code{stencil} with
+@code{##f}.
+
@item
Scheme expressions inside of embedded Lilypond (@code{#@{@dots{}#@}})
are now executed in lexical closure of the surrounding Scheme code.
containing expression, greatly reducing the potential for premature
evaluation.
+@item
+Support for jazz-like chords has been improved: Lydian and altered
+chords are recognised; separators between chord modifiers are now
+treated independently of separators between ``slash'' chords and their
+bass notes (and by default, slashes are now only used for the latter
+type of separator); additional pitches are no longer prefixed with
+``add'' by default; and the ``m'' in minor chords can be customized.
+@ruser{Customizing chord names} for more information.
+
@item
The @code{\markuplines} command has been renamed to @code{\markuplist}
for a better match with its semantics and general Lilypond
@code{define-music-function} that can be used for defining music
functions acting as events without requiring a direction specifier
(@code{-}, @code{^}, or @code{_}) placed before them.
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
dyn=#(define-event-function (parser location arg) (markup?)
(make-dynamic-script arg))
\relative c' { c\dyn pfsss }
<e-1>-"left"
@end lilypond
-
@item
The alignment of dynamic spanners (hairpins, text crescendo, etc.) is now
automatically broken if a different direction is explicitly given.
@item
Appoggiaturas and acciaccaturas now also work inside a slur, not only inside
a phrasing slur. Also, a function @code{\slashedGrace} was added that does
-does not use a slur from the acciaccatura note.
+not use a slur from the acciaccatura note.
@lilypond[fragment,quote,relative=2]
c4( \appoggiatura e8 d4 \acciaccatura e8 d4 \slashedGrace e8 c4)
@end lilypond
projects / lilypond.git / blobdiff