X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fchanges.tely;h=909d8e62d26735e78f7289f549296267b3fa5def;hb=d01d7bd0752a3d141de5a1fb2905d30efbcd8970;hp=c0d475a6b02fa21c1b698304b53e5cdb07e4fb5e;hpb=34fc5bf1293e0bbdea8519118112b50dd1256ac7;p=lilypond.git

diff --git a/Documentation/changes.tely b/Documentation/changes.tely
index c0d475a6b0..909d8e62d2 100644
--- a/Documentation/changes.tely
+++ b/Documentation/changes.tely
@@ -36,7 +36,7 @@ See user manual, \NAME\
 @finalout
 
 @node Top
-@top New features in 2.16 since 2.14
+@top New features in 2.18 since 2.16
 
 @allowcodebreaks false
 
@@ -62,205 +62,425 @@ which scares away people.
 @end ignore
 
 @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
-}
+Several articulations can be put into a single variable or
+returned from an event function:
+
+@lilypond[verbatim,quote]
+sempreStacc = -. ^\markup \italic sempre
+\relative { c''4\sempreStacc c c c }
 @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> }
+The baseline of score markups is now taken from the reference
+point (usually the middle of the staff) of the first bottom system
+rather than the top of the bounding rectangle.  The following
+@lilypond[verbatim,quote]
+\markup {
+  violin: \score { \new Staff { <g d' a' e''>1 }
+                   \layout { indent=0 } } ,
+  cello: \score { \new Staff { \clef "bass" <c, g, d a> }
+                  \layout { indent=0 } }
+}
 @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}.
+previously looked like
+@lilypond[quote]
+\markup {
+  violin: \general-align #Y #UP
+          \score { \new Staff { <g d' a' e''>1 }
+                   \layout { indent=0 } } ,
+  cello:  \general-align #Y #UP
+          \score { \new Staff { \clef "bass" <c, g, d a> }
+                  \layout { indent=0 } }
+}
+@end lilypond
+without a reliable way to get both scores to line up.
 
 @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.
+LilyPond no longer automatically infers a @samp{\defaultchild}
+context in a context definition with @samp{\accepts} clauses.  Any
+context definition without an explicit or inherited
+@samp{\defaultchild} definition counts as a @samp{Bottom} context
+and will be eligible for rhythmic events and overrides without
+causing the implicit creation of other contexts.  Be sure to
+specify a @samp{\defaultchild} for non-@samp{Bottom} contexts when
+defining them from scratch.
 
 @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.
+There is now extensive support for both discant and bass accordion
+register symbols in the @samp{scm accreg} module, see
+@ruser{Accordion Registers}.
+@lilypond[verbatim,quote]
+#(use-modules (scm accreg))
+\new PianoStaff
+<<
+  \new Staff \relative
+  { \clef "treble"  \discant "10"
+    r8 s32 f'[ bes f] s e[ a e] s d[ g d] s16 e32[ a]
+    \discant "121"
+    << { r16 <f bes> r <e a> r <d g> } \\
+       { d r a r bes r } >> |
+    <cis e a>1
+  }
+  \new Staff \relative
+  { \clef "treble"  \freeBass "1"
+    r8 d'32 s16. c32 s16. bes32 s16. a32[ cis] s16
+    \clef "bass"  \stdBass "Master"
+    << { r16 <f, bes d>^"b" r <e a c>^"am" r <d g bes>^"gm" |
+         <e a cis>1^"a" } \\
+       { d8_"D" c_"C" bes_"B" | a1_"A" }
+    >>
+  }
+>>
+@end lilypond
+
+@item
+New commands @code{markLengthOn} and @code{markLengthOff} control
+the allowance of horizontal space for tempo and rehearsal marks.
+
+@lilypond[quote,relative=2]
+\markLengthOn
+\compressFullBarRests
+\tempo "Molto vivace" c2 c'
+\mark\default
+\tempo "Meno mosso" R1*16
+\mark\default
+g,2 g
+\bar "||"
+\markLengthOff
+\tempo "Molto vivace" c2 c'
+\mark#1
+\tempo "Meno mosso" R1*16
+\mark\default
+g,2 g
+@end lilypond
 
 @item
-The @code{\markuplines} command has been renamed to @code{\markuplist}
-for a better match with its semantics and general Lilypond
-nomenclature.
+Rehearsal marks at the beginning of a line are now placed to the right
+of the clef and key signature by default.  As in previous versions, the
+@code{break-alignable-interface} controls the behavior.
+
+@lilypond[quote,relative=2]
+\set Score.barNumberVisibility = #all-bar-numbers-visible
+\set Timing.currentBarNumber = #72
+\bar"||" \time 3/4 \key e\major \mark#10 \tempo "Adagio" b2.
+@end lilypond
 
 @item
-The interface for specifying string tunings in tablature has been
-simplified considerably.
+Decimal numbers can now be written directly in music,
+without a hash sign.  Together with the previous change
+in the way object properties are specified, the code to
+change the length of stems has changed from this:
+@example
+\override Stem #'length = #5.6
+e' f' g' a'
+@end example
+to this:
+@example
+\override Stem.length = 5.6
+e' f' g' a'
+@end example
+
+One has to write a digit on both sides of the dot -- values like
+@code{4.} or @code{-.3} are not allowed.
+
+Decimal fractions are also not accepted in @code{\chordmode}.
 
 @item
-Beams can now have their slopes preserved over line breaks.
-@lilypond[fragment,quote,relative=2]
-\override Beam #'breakable = ##t
-a8[ b c d e f g \bar "" \break f e d c b a]
-\once \override Beam #'positions = #beam::align-with-broken-parts
-a8[ b c d e f g \bar "" \break f e d c b a]
-\once \override Beam #'positions = #beam::slope-like-broken-parts
-a8[ b c d e f g \bar "" \break f e d c b a]
+A number of shorthands like @code{(}, @code{)}, @code{|},
+@code{[}, @code{]}, @code{~}, @code{\(}, @code{\)} and others can
+now freely be redefined like normal commands.  An example would be
+@lilypond[verbatim,quote]
+"\\{" = (
+"\\}" = )
+"(" = \melisma
+")" = \melismaEnd
+
+\new Staff <<
+  \relative c' {
+    c8 \{ d e f \} % slurred
+    g ( a b c ) % no slur, but with melisma
+    c,1 \bar "|."
+   }
+   \addlyrics { Li -- ly -- pond. }
+>>
 @end lilypond
-To do this, several callback functions are now deprecated.
-@itemize
-@item @code{ly:beam::calc-least-squares-positions}
-@item @code{ly:beam::slope-damping}
-@item @code{ly:beam::shift-region-to-valid}
-@end itemize
-Furthermore, @code{ly:beam::quanting} now takes an additional argument
-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.
+The articulation shorthand for @code{\staccatissimo} has been
+renamed from @code{-|} to@tie{}@code{-!}.
 
 @item
-Music functions (and their close relatives) can now be defined with
-optional arguments.
+Tempo change ranges are now written as @code{\tempo 4 = 60 - 68}
+rather than @code{\tempo 4 = 60 ~ 68}.
 
 @item
-For defining commands executed only for their side-effects,
-@code{define-void-function} is now available.
+Grob @code{OctavateEight} was renamed to @code{ClefModifier}.
+Related context properties were renamed from @code{xxxOctavationyyy}
+to @code{xxxTranspositionyyy}.
 
 @item
-There is a new @code{define-event-function} command in analogy to
-@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,ragged-right]
-dyn=#(define-event-function (parser location arg) (markup?)
-         (make-dynamic-script arg))
-\relative c' { c\dyn pfsss }
+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 }
 @end lilypond
 
 @item
-A list of ASCII aliases for special characters can be included.
+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.
+
+@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:
+
+@lilypond[quote,verbatim,relative=2]
+<a \single\voiceTwoStyle e' a>1
+@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]
-\paper {
-  #(include-special-characters)
-}
-\markup "&bull; &dagger; &copyright; &OE; &ss; &para;"
+\new Staff \with { \omit Clef }
+\relative c'' <a e' \hide a>1
+@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
 @end lilypond
 
+This is mainly useful for writing music functions that need to
+have some property changed just for the duration of the function.
+
 @item
-There is a new @code{define-scheme-function} command in analogy to
-@code{define-music-function} that can be used to define functions
-evaluating to Scheme expressions while accepting arguments in Lilypond
-syntax.
+@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.
 
 @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
-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.
+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.
 
 @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.
+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.
 
 @item
-@code{\set \once} now correctly resets the property value to the previous value.
-@lilypond[fragment,quote,relative=2]
-  \set fingeringOrientations = #'(left)
-  <e-1>4
-  \once \set fingeringOrientations = #'(right)
-  <e-1>
-  <e-1>-"left"
-@end lilypond
+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'}.
 
 @item
-The alignment of dynamic spanners (hairpins, text crescendo, etc.) is now
-automatically broken if a different direction is explicitly given.
-@lilypond[fragment,quote,relative=2]
-c4_\< c c^\> c c1_\p
+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
 @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
+@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}.
 
 @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.
-@lilypond[fragment,quote,relative=2]
-c4( \appoggiatura e8 d4 \acciaccatura e8 d4 \slashedGrace e8 c4)
+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.
+
+@item
+Introducing two new markup-commands; @code{\draw-dashed-line} and
+@code{\draw-dotted-line}.
+
+@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.
 
+@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.
+
+@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)
+}
+@end lilypond
 
 @item
-To suppress the line on a crescendo text spanner (and other similar spanners),
-LilyPond now fully supports the @code{#'style = #'none} property.
-@lilypond[fragment,quote,relative=2]
-\override DynamicTextSpanner #'style = #'none
-c4\cresc c c g, c'\p
+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.
+
+@item
+The @code{\clef} command supports optional transposition:
+@lilypond[verbatim,quote,relative=1]
+\clef "treble_(8)"
+c2 c
+\clef "bass^[15]"
+c2 c
 @end lilypond
 
 @item
-LilyPond.app now supports MacOS X 10.7, thanks Christian Hitz!
+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
+
+@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."
+@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.
 
 @item
-Glissandi can now span multiple lines.
+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}.
+
+@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
 
 @end itemize
 
 @ifhtml
 For older news, go to
+@uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
 @uref{http://lilypond.org/doc/v2.14/Documentation/changes/},
-@uref{http://lilypond.org/doc/v2.12/Documentation/topdocs/NEWS.html},
 or @uref{../,go back} to the Documentation index.