X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fchanges.tely;h=b3fe430955eb778f9f8f932c832d8945d433ec8a;hb=be3a3ba0486e28fef1b163c828075bedf7f3d2c1;hp=70544254f84e832faa41e57d1e4e6d44c6e66a82;hpb=14141519116528444054b33419d910903f902ee7;p=lilypond.git

diff --git a/Documentation/changes.tely b/Documentation/changes.tely
index 70544254f8..b3fe430955 100644
--- a/Documentation/changes.tely
+++ b/Documentation/changes.tely
@@ -61,28 +61,214 @@ which scares away people.
 
 @end ignore
 
+@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]
+\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.  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 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[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.
+
+@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.
+
+@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.
+
+@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
+nomenclature.
+
+@item
+The interface for specifying string tunings in tablature has been
+simplified considerably and employs the scheme function
+@code{\stringTuning} for most purposes.
+
+@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]
+@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.  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
+optional arguments.
+
+@item
+For defining commands executed only for their side-effects,
+@code{define-void-function} is now available.
+
+@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 post 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 }
+@end lilypond
+
+@item
+A list of ASCII aliases for special characters can be included.
+@lilypond[quote,verbatim]
+\paper {
+  #(include-special-characters)
+}
+\markup "&bull; &dagger; &copyright; &OE; &ss; &para;"
+@end lilypond
+
 @item
 There is a new @code{define-scheme-function} command in analogy to
-@code{define-music-function} which can be used to define functions
+@code{define-music-function} that can be used to define functions
 evaluating to Scheme expressions while accepting arguments in Lilypond
 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)
   <e-1>4
@@ -91,7 +277,6 @@ LilyPond creates. Possible values are ERROR, WARN, BASIC_PROGRESS, PROGRESS, DEB
   <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.
@@ -103,8 +288,8 @@ c4_\< c c^\> c c1_\p
 @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,relative=2]
+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