X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fchanges.tely;h=3ab405c0b21d0585daeaf56a1bc318fe7799e820;hb=59570bd51f91b853a4a49ea434dee9aa06f50d65;hp=419dad0e81ca638476c8d33abbe33f3b35e46fa5;hpb=41a69fdf186fa00f69fbe1c1f2870423dbd14f56;p=lilypond.git
diff --git a/Documentation/changes.tely b/Documentation/changes.tely
index 419dad0e81..3ab405c0b2 100644
--- a/Documentation/changes.tely
+++ b/Documentation/changes.tely
@@ -36,7 +36,7 @@ See user manual, \NAME\
@finalout
@node Top
-@top New features in 2.18 since 2.16
+@top New features in 2.20 since 2.18
@allowcodebreaks false
@@ -60,275 +60,378 @@ which scares away people.
* only show user-visible changes.
@end ignore
+@item
+@code{KeyCancellation} grobs now ignore cue clefs (like
+@code{KeySignature} grobs do).
@item
-Grob @code{OctavateEight} was renamed to @code{ClefModifier}.
-Related context properties were renamed from @code{xxxOctavationyyy}
-to @code{xxxTranspositionyyy}.
+Add support for @code{\once@tie{}\unset}
@item
-There is a new @code{\absolute} command explicitly marking music
-as being entered in absolute pitch. While this has been the
-default previously, an explicit @code{\absolute} also prevents
-reinterpretation when the passage is placed inside of
-@code{\relative}:
-@lilypond[verbatim,quote]
-\relative c { c'4 \absolute { f'' g'' } c }
+It is now possible to individually color both the dots and parentheses
+in fret diagrams when using the @code{\fret-diagram-verbose} markup
+command.
+
+@lilypond[verbatim,quote,relative=1]
+\new Voice {
+ c1^\markup {
+ \override #'(fret-diagram-details . (
+ (finger-code . in-dot))) {
+ \fret-diagram-verbose #'((mute 6)
+ (place-fret 5 3 1 red)
+ (place-fret 4 5 2 inverted)
+ (place-fret 3 5 3 green)
+ (place-fret 2 5 4 blue inverted)
+ (place-fret 1 3 1 violet)
+ (barre 5 1 3 ))
+ }
+ }
+ c1^\markup {
+ \override #'(fret-diagram-details . (
+ (finger-code . below-string))) {
+ \fret-diagram-verbose #'((mute 6)
+ (place-fret 5 3 1 red parenthesized)
+ (place-fret 4 5 2 yellow
+ default-paren-color
+ parenthesized)
+ (place-fret 3 5 3 green)
+ (place-fret 2 5 4 blue )
+ (place-fret 1 3 1)
+ (barre 5 1 3))
+ }
+ }
+}
@end lilypond
@item
-When @code{\relative} is used without an explicit reference pitch,
-the reference pitch now is the middle of the first octave, making
-the first entered pitch indistinguishable from absolute pitch.
-Previously, omitting the reference pitch would have lead to a
-default of @code{c'}. Since that choice was somewhat arbitrary,
-recommended usage was to always specify the reference pitch.
+Two new properties have been added for use in
+@code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
+markup command; @code{fret-label-horizontal-offset} which affects the
+@code{fret-label-indication} and @code{paren-padding} which controls the
+space between the dot and the parentheses surrounding it.
+
+@lilypond[verbatim,quote,relative=1]
+\new Voice {
+ c1^\markup {
+ \fret-diagram-verbose #'((mute 6)
+ (place-fret 5 3 1)
+ (place-fret 4 5 2)
+ (place-fret 3 5 3)
+ (place-fret 1 6 4 parenthesized)
+ (place-fret 2 3 1)
+ (barre 5 2 3))
+ }
+ c1^\markup {
+ \override #'(fret-diagram-details . (
+ (fret-label-horizontal-offset . 2)
+ (paren-padding . 0.25))) {
+ \fret-diagram-verbose #'((mute 6)
+ (place-fret 5 3 1)
+ (place-fret 4 5 2)
+ (place-fret 3 5 3)
+ (place-fret 1 6 4 parenthesized)
+ (place-fret 2 3 1)
+ (barre 5 2 3))
+ }
+ }
+}
+@end lilypond
@item
-A new command @code{\single} can be used for converting a property
-override into a tweak to be applied on a single music expression:
+A new markup command @code{\justify-line} has been added. Similar to
+the @code{\fill-line} markup command except that instead of setting
+@emph{words} in columns, the @code{\justify-line} command balances the
+whitespace between them ensuring that when there are three or more
+words in a markup, the whitespace is always consistent.
+
+@lilypond[quote,verbatim,papersize=a6]
+\markup \fill-line {oooooo oooooo oooooo oooooo}
+\markup \fill-line {ooooooooo oooooooo oo ooo}
+@end lilypond
-@lilypond[quote,verbatim,relative=2]
-1
+@lilypond[quote,verbatim,papersize=a6]
+\markup \justify-line {oooooo oooooo oooooo oooooo}
+\markup \justify-line {ooooooooo oooooooo oo ooo}
@end lilypond
@item
-Two ways of letting graphical objects not appear in the output are
-overriding its @code{transparent} property with @code{#t}
-(retaining the original spacing) or overriding its @code{stencil}
-property with @code{#f} (not using any space at all). Those two
-operations now have the shorthands @code{\hide} and @code{\omit},
-respectively. They can either be given a music expression to
-tweak, or the name of a graphical object for which an override
-should be created (for specifying both, use @code{\single} on the
-override form):
-
-@lilypond[quote,verbatim]
-\new Staff \with { \omit Clef }
-\relative c'' 1
+A new command @code{\magnifyMusic} has been added, which allows
+the notation size to be changed without changing the staff size,
+while automatically scaling stems, beams, and horizontal spacing.
+
+@lilypond[verbatim,quote]
+\new Staff <<
+ \new Voice \relative {
+ \voiceOne
+ 4 8. 16 8 4 r8
+ }
+ \new Voice \relative {
+ \voiceTwo
+ \magnifyMusic 0.63 {
+ \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
+ r32 c'' a c a c a c r c a c a c a c
+ r c a c a c a c a c a c a c a c
+ }
+ }
+>>
@end lilypond
@item
-A new command @code{\temporary} can be applied to overrides in
-order to not have them replace previous property settings. If a
-@code{\revert} is applied to the same property subsequently, the
-previous setting reappears:
-
-@lilypond[quote,verbatim,relative=2]
-\override NoteHead.color = #red c4
-\override NoteHead.color = #green d
-\revert NoteHead.color e2
-\override NoteHead.color = #red c4
-\temporary\override NoteHead.color = #green d
-\revert NoteHead.color e
-\revert NoteHead.color c
+A new flexible template suitable for a range of choral music, is now
+provided. This may be used to create simple choral music, with or
+without piano accompaniment, in two or four staves. Unlike other
+templates, this template is @q{built-in}, which means it does not
+need to be copied and edited: instead it is simply @code{\include}'d
+in the input file. For details, see @rlearning{Built-in templates}.
+
+@item
+The positioning of tuplet numbers for kneed beams has been significantly
+improved. Previously, tuplet numbers were placed according to the
+position of the tuplet bracket, even if it was not printed. This could
+lead to stranded tuplet numbers. Now they are now positioned
+closer to the kneed-beam when an appropriate beam segment exists for its
+placement and when the the bracket is not drawn.
+
+Collision detection is also added, offsetting horizontally if too close
+to an adjoining note column but preserving the number's vertical
+distance from the kneed beam. If the number itself is too large to
+fit in the available space the original, bracket-based, positioning
+system is used instead; and in the event of a collision (e.g. with an
+accidental) the tuplet number is moved vertically away instead.
+
+@lilypond[verbatim,fragment,quote,relative=1]
+\time 3/4
+\override Beam.auto-knee-gap = 3
+\tuplet 3/2 4 {
+ g8 c'' e,
+ c'8 g,, e''
+ g,,8 e''' c,,
+}
@end lilypond
-This is mainly useful for writing music functions that need to
-have some property changed just for the duration of the function.
+@noindent
+The original kneed-beam tuplet behavior is still available through an
+@code{\override} via a new, @code{knee-to-beam} property.
+
+@lilypond[verbatim,fragment,quote,relative=1]
+\time 3/4
+\override Beam.auto-knee-gap = 3
+\override TupletNumber.knee-to-beam = ##f
+\tuplet 3/2 4 {
+ g8 c'' e,
+ c'8 g,, e''
+ g,,8 e''' c,,
+}
+@end lilypond
@item
-@code{\tag}, @code{\removeWithTag}, and @code{\keepWithTag} can
-now accept a list of symbols rather than just a single symbol for
-marking, removing, and keeping music with any of multiple tags.
-This is particularly important for @code{\keepWithTag} since one
-cannot achieve the same effect by using multiple consecutive
-@code{\keepWithTag} commands.
+@code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
+now accept the same kind of delimited argument list that @code{\lyrics}
+and @code{\chords} accept. Backward compatibility has been added so
+music identifiers (i.e. @code{\mus}) are permitted as arguments. A
+@code{convert-ly} rule has been added that removes redundant uses of
+@code{\lyricmode} and rearranges combinations with context starters such
+that @code{\lyricsto} in general is applied last (i.e. like
+@code{\lyricmode} would be).
@item
-The @samp{-d old-relative} option has been removed. Not actually
-accessible from the command line any more, its remaining use was
-for interpretating @code{\relative} in LilyPond files converted
-automatically from version@tie{}1.8 or older. It is unclear how
-much of this was actually still operative.
+Scheme functions and identifiers can now be used as output definitions.
@item
-The meaning of @code{instrumentTransposition} has been reversed.
-After
-@example
-\set instrumentTransposition = #@{ b #@}
-@end example
-a written @code{c'} now sounds like @code{b}. Previously, this
-would have been the other way round. This and the following change
-should make dealing with transposing instruments more
-straightforward.
+Scheme expressions can now be used as chord constituents.
@item
-The music generated by @code{\set} and @code{\override} commands
-is no longer affected by @code{\transpose}. The main consequence
-is that @code{\transpose} will transpose audible/@/concert pitch and
-printed pitch by the same amount even when the transposed music
-contains @code{\transposition}. Previously,
-@example
-\transpose c' f' \transposition bes'
-@end example
-was equivalent to @code{\transposition f'}. Now it stays
-equivalent to @code{\transposition bes'}.
+Improved visual spacing of small and regular @q{MI} Funk and Walker
+noteheads so they are now the same width as other shaped notes in
+their respective sets. @code{SOL} noteheads are also now visually
+improved when used with both the normal Aiken and Sacred Harp heads, as
+well as with the thin variants.
@item
-When checking for collisions, LilyPond no longer treats objects as
-rectangles. Instead, the actual shape of objects is approximated
-using an integral-like approach. This generally results in more
-even and snug positioning of objects and systems:
-
-@lilypond[relative=1]
-#(ly:set-option 'debug-skylines #t)
-\dynamicUp
-c'4\f a4\f d\f( f)
-a,4\< c c c\!
-d4-.\downbow a4^"r'venu..." c \tempo "T1" e
+@code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
+@rinternals{LeftEdge}.
+
+@item
+Added a new @code{make-path-stencil} function that supports all
+@code{path} commands both relative and absolute:
+
+@code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
+@code{moveto}, @code{rmoveto}, @code{closepath}. The function also
+supports @q{single-letter} syntax used in standard SVG path commands:
+
+@code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
+@code{z}. The new command is also backward-compatible with the original
+@code{make-connected-path-stencil} function. Also see
+@file{scm/stencil.scm}.
+
+@item
+Context properties named in the @samp{alternativeRestores} property are
+restored to their value at the start of the @emph{first} alternative in
+all subsequent alternatives.
+
+Currently the default set restores @q{current meter};
+
+@lilypond[verbatim,fragment,quote,relative=2]
+\time 3/4
+\repeat volta 2 { c2 e4 | }
+\alternative {
+ { \time 4/4 f2 d | }
+ { f2 d4 | }
+}
+g2. |
@end lilypond
-Previously, the above snippet looked like this:
-
-@lilypond[relative=1]
-#(ly:set-option 'debug-skylines #t)
-\override Hairpin #'vertical-skylines = #'()
-\override DynamicText #'vertical-skylines = #'()
-\override TextScript #'vertical-skylines = #'()
-\override Score.MetronomeMark #'vertical-skylines = #'()
-\override Staff.Clef #'vertical-skylines = #'()
-\dynamicUp
-c'4\f a4\f d\f( f)
-a,4\< c c c\!
-d4-.\downbow a4^"r'venu..." c \tempo "T1" e
+@noindent
+@q{measure position};
+
+@lilypond[verbatim,fragment,quote,relative=2]
+\time 3/4
+\repeat volta 2 { c2 e4 | }
+\alternative {
+ { \time 4/4
+ \set Timing.measurePosition = #(ly:make-moment -1/2)
+ f2 | }
+ { f2 d4 | }
+}
+g2. |
@end lilypond
-Affected objects include @code{Accidentals}, @code{Beams}, @code{Clefs},
-@code{Dynamics}, @code{FiguredBass}, @code{Flags}, @code{Glissandos},
-@code{Lyrics}, @code{MetronomeMarks}, @code{OttavaBrackets},
-@code{Pedals}, @code{RehearsalMarks}, @code{Rests}, @code{Scripts},
-@code{TextScripts}, @code{Ties}, @code{Tuplets} and @code{VoltaBrackets}.
+@noindent
+and @q{chord changes};
+
+@lilypond[verbatim,fragment,quote]
+<<
+ \new ChordNames {
+ \set chordChanges = ##t
+ \chordmode { c1:m d:m c:m d:m }
+ }
+ \new Staff {
+ \repeat volta 2 { \chordmode { c1:m } }
+ \alternative {
+ { \chordmode { d:m } }
+ { \chordmode { c:m } }
+ }
+ \chordmode { d:m }
+}
+>>
+@end lilypond
@item
-Tuplets are now created with the @code{\tuplet} command, which
-takes a fraction @code{@var{t}/@var{n}} to specify that @var{t}
-notes are played in the time usually allowed for @var{n}. One
-@code{\tuplet} command can create several tuplet groups if their
-duration is typed after the fraction.
-@lilypond[quote,verbatim,relative=2]
-\tuplet 3/2 { c8 d e } \tuplet 3/2 { f e d } c2
-\tuplet 3/2 4 { c8 d e f e d } c2
-@end lilypond
-The @code{\times} command with its inverted fraction order
-@code{@var{n}/@var{t}} is still available.
+Improved MIDI output for breathe marks. After tied notes, breaths take
+time @emph{only} from the last note of the tie; e.g.
+@code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
+of @code{@{ c4 r8 @}}. This is more consistent with articulations and
+how humans interpret breaths after ties. It now also makes it easier to
+align simultaneous breathe marks over multiple parts, all with different
+note lengths.
@item
-Introducing two new markup-commands; @code{\draw-dashed-line} and
-@code{\draw-dotted-line}.
+A new note head style for Tabulature has been added;
+@code{TabNoteHead.style = #'slash}.
-@noindent
-The dashed-line extends to the whole length given by @var{dest}, if
-@code{full-length} is set to @code{#t} (this is the default) without any
-space at the beginning or end. @code{off} will then be altered to fit.
-To insist on the given (or default) values of @code{on}, @code{off} use
-@code{\override #'(full-length . #f)}. Manual settings for @code{on},
-@code{off} and @code{phase} are possible.
+@item
+Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
+@emph{Varpercussion} and @emph{varC} and their related tessitura.
+@lilypond[verbatim,quote,fragment]
+ \override Staff.Clef.full-size-change = ##t
+
+ \clef "GG" c c c c
+ \clef "tenorG" c c c c
+ \clef "varC" c c c c
+ \clef "altovarC" c c c c
+ \clef "tenorvarC" c c c c
+ \clef "baritonevarC" c c c c
+ \clef "varpercussion" c c c c
+
+ \break
+ \override Staff.Clef.full-size-change = ##f
+
+ \clef "GG" c c c c
+ \clef "tenorG" c c c c
+ \clef "varC" c c c c
+ \clef "altovarC" c c c c
+ \clef "tenorvarC" c c c c
+ \clef "baritonevarC" c c c
+ \clef "varpercussion" c c c c
+@end lilypond
-@noindent
-The dotted-line always extends to the whole length given by @var{dest},
-without any space at the beginning or end. Manual settings for
-@code{off} are possible to get larger or smaller space between the dots.
-The given (or default) value of @code{off} will be altered to fit the
-line-length.
+@item
+Isolated durations in music sequences now stand for unpitched
+notes. This may be useful for specifying rhythms to music or
+scheme functions. When encountered in the final score, the
+pitches are provided by the preceding note or chord. Here are two
+examples where this makes for readable input:
@lilypond[verbatim,quote]
-\markup {
- \draw-dashed-line #'(5.1 . 2.3)
- \override #'(on . 0.3)
- \override #'(off . 0.5)
- \draw-dashed-line #'(5.1 . 2.3)
- \draw-dotted-line #'(5.1 . 2.3)
- \override #'(thickness . 2)
- \override #'(off . 0.2)
- \draw-dotted-line #'(5.1 . 2.3)
+\new DrumStaff \with { \override StaffSymbol.line-count = 1 }
+\drummode {
+ \time 3/4
+ tambourine 8 \tuplet 3/2 { 16 16 16 }
+ 8 \tuplet 3/2 { 16 16 16 } 8 8 |
}
@end lilypond
-@item
-Starting with version@tie{}2.17.10, error messages or the
-@code{textedit} @acronym{URI} used for point-and-click
-functionality specify column numbers starting with@tie{}1 rather
-than@tie{}0. The byte offset (also part of @code{textedit}
-@acronym{URI}s) still starts at@tie{}0.
+@lilypond[verbatim,quote]
+\new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
+@end lilypond
@item
-The @code{\clef} command supports optional transposition:
+Beaming exceptions can now be constructed using the
+@code{\beamExceptions} scheme function. One can now write
+
@lilypond[verbatim,quote,relative=1]
-\clef "treble_(8)"
-c2 c
-\clef "bass^[15]"
-c2 c
+\time #'(2 1) 3/16
+\set Timing.beamExceptions =
+ \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
+c16 c c |
+\repeat unfold 6 { c32 } |
@end lilypond
-@item
-The LilyPond syntax of dot-separated words @code{Voice.Accidental}
-has been made interchangeable with @code{#'(Voice Accidental)}, a
-Scheme list of symbols. As one result, code like
-@example
-\override Voice.TextSpanner #'(bound-details left text) = "rit."
-@end example
-is now equivalent to
-@example
-\override Voice.TextSpanner bound-details.left.text = "rit."
-@end example
-or even
-@example
-\override #'(Voice TextSpanner) bound-details.left.text = "rit."
-@end example
+@noindent
+with multiple exceptions separated with @code{|} bar checks
+(writing the exception pattern without pitches is convenient but
+not mandatory). Previously, setting the beam exceptions would
+have required writing
-@item
-Grob and grob property path no longer need to be specified as two
-separate arguments to commands like @samp{\override} and
-@code{\revert}, allowing for the syntax
@example
-\override Voice.TextSpanner.bound-details.left.text = "rit."
+\set Timing.beamExceptions =
+#'( ;start of alist
+ (end . ;entry for end of beams
+ ( ;start of alist of end points
+ ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
+ )))
@end example
-Since complementary music functions like @samp{\overrideProperty}
-cannot support forms with and without separating space at the same
-time, using a single dotted path is now the preferred form.
-Specifying grob path and grob property path separately, currently
-still supported with @samp{\override} and @samp{\revert} for
-compatibility reasons, is deprecated.
@item
-Due to words now being accepted as symbol function arguments, the
-interfaces of @samp{\accidentalStyle}, @samp{\alterBroken},
-@samp{\footnote} and @samp{\tweak} had to be redesigned where
-optional symbol arguments were involved. Please check the
-respective music function documentation for details.
+The most common articulations are now reflected in MIDI output.
+Accent and marcato make notes louder; staccato, staccatissimo and
+portato make them shorter. Breath marks shorten the previous
+note.
-@item
-Several commands now accept symbol lists (conveniently entered as
-dot-separated words) for various kinds of arguments. These
-include @samp{\accidentalStyle}, @samp{\alterBroken},
-@samp{\footnote}, @samp{\hide}, @samp{\omit},
-@samp{\overrideProperty}, @samp{\shape}, and @samp{\tweak}.
+This behavior is customizable through the @code{midiLength} and
+@code{midiExtraVelocity} properties on @code{ArticulationEvent}.
+See @file{script-init.ly} for examples.
@item
-The bar line user interface has changed. Bar glyphs now resemble the
-appearance of the bar line, so a left repeat sign has to be coded
-as @code{.|:}. The command @code{\defineBarLine} provides an easy way
-to define additional bar line styles.
-
-@item
-Accidentals in the key signature may be printed in octaves other
-than their traditional positions, or in multiple octaves.
-@lilypond[quote,relative=0]
-\override Staff.KeySignature #'flat-positions = #'((-5 . 5))
-\override Staff.KeyCancellation #'flat-positions = #'((-5 . 5))
-\clef bass \key es \major es g bes d
-\clef treble \bar "||" \key es \major es g bes d
-\override Staff.KeySignature #'sharp-positions = #'(2)
-\bar "||" \key d \major b fis b2
-@end lilypond
+The PostScript functionality of stroke adjustment is no longer
+applied automatically but left to the discretion of the PostScript
+device (by default, Ghostscript uses it for resolutions up to
+150dpi when generating raster images). When it is enabled, a more
+complex drawing algorithm designed to benefit from stroke
+adjustment is employed mostly for stems and bar lines.
+
+Stroke adjustment can be forced by specifying the command line
+option @samp{-dstrokeadjust} to LilyPond. When generating
+@code{PDF} files, this will usually result in markedly better
+looking @code{PDF} previews but significantly larger file size.
+Print quality at high resolutions will be unaffected.
@end itemize
@ifhtml
For older news, go to
+@uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
@uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
-@uref{http://lilypond.org/doc/v2.14/Documentation/changes/},
or @uref{../,go back} to the Documentation index.