X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fchanges.tely;h=632ce2042f9b647385dd92ce8d4c13e25eea80c6;hb=067f6e7978add24a3367e564f1285139b0d01876;hp=c07c270ba166035e7c83aa46adaced811face466;hpb=9ff4029627f34267fc9f040c703d568b1dfd10b1;p=lilypond.git diff --git a/Documentation/changes.tely b/Documentation/changes.tely index c07c270ba1..632ce2042f 100644 --- a/Documentation/changes.tely +++ b/Documentation/changes.tely @@ -61,6 +61,40 @@ which scares away people. @end ignore +@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 of 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. @lilypond[fragment,quote,relative=2] @@ -99,33 +133,48 @@ 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 +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{}#@}}) @@ -154,7 +203,8 @@ nomenclature. @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. @@ -177,10 +227,11 @@ to help calculations over line breaks. All of these functions are now 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 @@ -218,20 +269,27 @@ syntax. @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) 4