in layer 0 too.
* scm/define-context-properties.scm
(all-user-translation-properties): add tieWaitForNote
* scm/define-grobs.scm (all-grob-descriptions): add
Tie_column::before_line_breaking
* lily/tie.cc (get_column_rank): new function
* lily/tie-column.cc (before_line_breaking): new function.
(werner_directions): take into account ties that start on
different columns.
* lily/score-engraver.cc (set_columns): move add_column() so we
have column rank available.
* lily/tie.cc (get_column_rank): new function.
2005-02-20 Han-Wen Nienhuys <hanwen@xs4all.nl>
+ * scm/define-grobs.scm (all-grob-descriptions): put ledger lines
+ in layer 0 too.
+
+ * scm/define-context-properties.scm
+ (all-user-translation-properties): add tieWaitForNote
+
+ * scm/define-grobs.scm (all-grob-descriptions): add
+ Tie_column::before_line_breaking
+
+ * lily/tie.cc (get_column_rank): new function
+
+ * lily/tie-column.cc (before_line_breaking): new function.
+ (werner_directions): take into account ties that start on
+ different columns.
+
+ * lily/score-engraver.cc (set_columns): move add_column() so we
+ have column rank available.
+
+ * lily/tie.cc (get_column_rank): new function.
+
* input/regression/utf8.ly (japanese): add japanese lyrics.
* lily/pfb.cc (LY_DEFINE): ly:ttf->pfa, new function.
--- /dev/null
+\input texinfo @c -*-texinfo-*-
+@setfilename NEWS.info
+@settitle NEWS
+
+@node Top, , ,
+@top
+@unnumbered New features in 2.5 since 2.4
+
+@itemize @bullet
+
+@item
+With the new @code{tieWaitForNote} property, arpeggios may be written
+out using ties, for example,
+
+@lilypond[fragment,verbatim,relative=1,raggedright]
+\set tieWaitForNote = ##t
+\grace { c16[~ e~ g]~ } <c, e g>4
+@end lilypond
+
+Thanks to Steve Doonan for funding development of this feature.
+
+@item
+Individual objects may be assigned colors, for example,
+
+@lilypond[fragment,relative=1,verbatim,raggedright]
+ \override Beam #'color = #cyan
+ \override NoteHead #'color = #darkyellow
+ c4
+@end lilypond
+
+@item
+The PostScript backend is now used by default. This backend requires
+less machinery to run, and gives more consistent results.
+
+Due bugs in GhostScript's PDF handling, it is recommended to upgrade
+to GhostScript 8.x.
+
+@item
+Separator slashes may be inserted between systems in a score. For an
+example, see
+@file{input/regression/system-separator.ly}:
+
+@lilypondfile{system-separator.ly}
+
+@item
+Locations of errors in the input are now calculated more precisely.
+
+@item
+LilyPond now uses Pango and FontConfig for selecting and rendering
+internationalized text in non-@TeX{} backends. A font may be selected
+by using a FontConfig name,
+
+@example
+\override TextScript #'font-name = #"Serif"
+@end example
+
+
+@noindent
+or using the classic font selection mechanism
+
+@example
+\override TextScript #'font-family = #'roman
+\override TextScript #'font-series = #'bold
+@end example
+
+Any Type1 and TrueType font recognized by FontConfig is available in
+LilyPond as well.
+
+@noindent
+Input strings encoded in UTF-8 are then rendered through Pango.
+
+@item
+Metrics of blocks of text can be retrieved from (La)@TeX{} directly,
+using the @code{-f texstr} output backend. This provides exact metrics
+for texts, including kerning and accents.
+
+@item
+LilyPond now uses FreeType read the Feta font as an OpenType
+font. This is cleaner design and more robust. A recent version of
+FontForge (11122004 or newer) and Freetype is required.
+
+As a result, the SVG backend is now a fully functional backend.
+
+@item
+A new script, @code{\espressivo} has been added, for a combination of
+crescendo and decrescendo on a single note.
+
+@item
+In markups, expressions stacked with @code{\column},
+@code{\center-align}, etc, are not grouped with @code{< ... >} anymore,
+but with @code{@{ ... @}}, eg:
+@example
+\markup \column @{
+ \line @{ first line @}
+ \line @{ second line @}
+@}
+@end example
+
+@item
+LilyPond will now avoid line breaks that cause long texts to stick
+outside of the page staff.
+
+@item
+Grace notes following a main note, used to be entered by letting the
+grace notes follow a skip in a parallel expression, for example,
+
+@verbatim
+ << { d1 }
+ { s2 \grace { c16[ d] } } >>
+ c4
+@end verbatim
+
+@noindent
+This can now be shortened by doing
+
+@example
+\afterGrace @{ d1 @} @{ c16[ d] @}
+@end example
+
+@item
+Pagebreaks can now be forced or forbidden after title blocks. This is
+achieved by setting @code{breakbefore} in the @code{\header} block to
+true or false.
+
+@item
+Shaped note heads. This feature has been sponsored by Jonathan Walther.
+
+@item
+Layout for titles, page header and footer can now be entered as
+@code{\markup} commands.
+
+@item Positioning of slurs can now be adjusted manually
+
+@item Grace notes are correctly quoted and formatted when using cue notes.
+
+@item Cue notes can now be created with
+
+@example
+\cueDuring #@var{voice-name} #@var{direction} @{ @var{music} @}
+@end example
+
+@noindent
+This will set stem directions and put the cue notes in the @code{cue}
+@code{Voice}
+
+@item Stemlets, short stems over beamed rests, have been added.
+
+@end itemize
+
+
+@unnumbered New features in 2.4 since 2.2
+
+@itemize @bullet
+
+@item Parts that use @code{\quote} can now be transposed.
+
+@item LilyPond does not try to produce output for files that
+have a parse error.
+
+@item @code{lilypond-book} will now remove any output files that
+contain failed music snippets.
+
+@item The mode changing commands (@code{\chords}, @code{\lyrics}, etc.)
+have been renamed to @code{\chordmode}, @code{\lyricmode}, etc. The
+command @code{\chords} is an abbreviation for
+
+@example
+ \new ChordNames \chordmode ...
+@end example
+
+@noindent
+@code{\drums}, @code{\lyrics}, @code{\chords}, @code{\figures}
+function similarly.
+
+@item The types of events quoted with @code{\quote} can now be tuned
+with @code{quotedEventTypes}. By default, only notes and rests end up
+in quotes.
+
+@item LilyPond will try to keep
+staves at the same distances across a page, but it will stretch
+distances to prevent collisions. This results in a more even
+appearance of the page.
+
+@item Key signature cancellations are now printed before the bar line,
+and their appearance has been improved.
+
+@item Different voices that all use @code{\quote} can now refer to
+each other.
+
+
+@item The automatic staff changer, which is invoked with
+@code{\autochange}, now creates the @code{up} and @code{down} staff
+automatically, and uses bass clef for the bottom staff.
+
+@item There is now support for putting two slurs on chords, both above
+and below. This is switched on with the @code{doubleSlurs} property.
+
+@item Running trills now have their own spanner and event,
+
+@example
+ c1\startTrillSpan c4\stopTrillSpan
+@end example
+
+@item There is a new markup command @code{\postscript} that takes a
+string that is dumped as verbatim PostScript in the output.
+
+@item The melody for a @code{\lyricsto} text can be changed during a
+melody by setting the @code{associatedVoice} property.
+
+@item The @code{\lyricsto} keyword now automatically switches on
+lyrics mode.
+
+@item The LilyPond binary now supports output options
+@code{--dvi} @code{--png} @code{--ps} @code{--pdf} and
+@code{--preview}. The old wrapper script for La@TeX{} has been
+renamed to @code{lilypond-latex}.
+
+@item Support for ambitus has been rewritten. The Ambitus object is now
+a grouping object, composed of @code{AmbitusLine},
+@code{AmbitusAccidental} and @code{AmbitusNoteHead}. These objects may
+be tuned similar to accidentals and note heads.
+
+@item Ledger lines are now shortened when the spacing is tight. This
+prevents ledger lines from colliding with each other.
+
+@item Slur formatting has been rewritten. The new slur code
+works similar to the Beam formatter: scores are assigned for all
+esthetic components of a slur. A large number of combinations for
+begin and end points is then tried out. Slurs will now also take into
+account collisions with staff lines, scripts (like staccato and
+accent) and accidentals.
+
+
+@item In the LilyPond emacs mode, entering @code{|} will display the
+ current beat within the measure.
+
+@item Colliding notes are now correctly aligned relative to notes in other staves.
+
+@item An experimental GNOME output backend is available for developers.
+It depends on several unreleased packages such as gnome-guile TLA and
+Pango CVS. The output interface coverage is sparse, but it already
+does support point-and-click on the GNOME Canvas. See also
+@file{scm/output-gnome.scm}.
+
+@item Context definitions are now stored in identifiers that match the
+context name, in other words, to modify a @code{Staff} context, the
+following code may be used.
+
+@example
+\context @{
+ \Staff
+ ..
+@}
+@end example
+
+@item
+The @code{\paper} block has been renamed to @code{\layout}. A new
+@code{\paper} block has been introduced to hold settings for paper
+size and output scaling. Further options include @code{raggedbottom}
+(if set, systems are not vertically filled to reach the bottom of the
+page), and @code{raggedlastbottom}.
+
+
+@item Support for fret diagrams has been contributed by Carl
+D. Sorensen. @file{input/test/fret-diagram.ly} contains an example.
+
+@item The @code{--safe-mode} has been revisited: GUILE evaluation
+is done in the R5RS safe module, with only the basic @code{ly:}
+interface available and malicious @TeX{} code is stopped. However, to
+be reasonably safe, you are advised to use the PostScript backend
+rather than the @TeX{} backend anyway; and if possible use an UML
+sandbox to run gs or latex.
+
+@item Music syntax can now be extended seamlessly. As an example,
+here is the new implementation @code{\applymusic},
+
+@example
+ applymusic = #(ly:make-music-function
+ (list procedure? ly:music?) ; signature
+ (lambda (where func music) ; the function
+ (func music)))
+@end example
+
+@item @code{\apply} has been renamed to @code{\applymusic}.
+
+@item Music can be used as a markup.
+When inserting a @code{score} block as part of a @code{\markup}, it
+produces a rendered markup of the music. An example is in
+@file{input/test/markup-score.ly}.
+
+@item LilyPond expressions can be embedded into Scheme. The syntax for
+this is @code{#@{ ... #@}}. Within such a block, Scheme forms can be
+introduced using a @code{$} character (@code{$$} results in a single
+`$' character). These forms are then inserted in the pattern.
+
+@example
+#(define (textoffset dx dy)
+ (ly:export
+ #@{ \override Voice.TextScript #'extra-offset = #(cons $dx $dy) #@}))
+
+@{
+ c'^"normal text"
+ %% The following embedded scheme call is the same as
+ %% \override Voice.TextScript #'extra-offset = #(cons 2 -3)
+ #(textoffset 2 -3)
+ c'^"text with offset"
+@}
+@end example
+
+@item A music list at toplevel is interpreted as implicit @code{\score}
+a @code{\score} block at toplevel is interpreted as an implicit
+@code{\book} and @code{\notemode} mode is the default lexer mode. The
+result is that
+
+@example
+\header @{ title = "The Title" @}
+@{ a b c @}
+@end example
+
+is interpreted as
+
+@example
+\header @{ title = "The Title" @}
+\book @{
+ \score @{
+ \notemode @{ a b c @}
+ @}
+@}
+@end example
+
+This is handled by the function defined in
+@code{toplevel-music-handler}. Similarly, @code{\score} and
+@code{\book} are handled by @code{toplevel-score-handler} and a
+@code{toplevel-book-handler}. By changing these variables, different
+results can be obtained.
+
+@item Mode changing commands,
+such as @code{\chordmode} and @code{\figuremode} must now be directly
+followed by delimiters. The following example demonstrates the new
+behavior,
+
+@verbatim
+ \figuremode \context Figures { .. } % wrong
+ \context Figures \figuremode { .. } % right
+@end verbatim
+
+
+@item The starting pitch for @code{relative} music is optional for music lists.
+The default value is middle C.
+
+@item Combining lyrics with music can be done with @code{\addlyrics}
+
+@example
+ \relative @{
+ \clef bass
+ d2 d c4 bes a2 \break
+ @}
+ \addlyrics @{
+ My first Li -- ly song,
+ @}
+ \addlyrics @{
+ Not much can go wrong!
+ @}
+@end example
+
+Syntactically, @code{\addlyrics} is an infix operator. It is a
+shortcut for a combination of @code{\new Lyrics}, @code{\lyricmode}
+and @code{\lyricsto}.
+
+@item The parser is encapsulated in a Scheme function
+@code{ly:parse-file}, so the following fragment processes two files
+
+@verbatim
+#(ly:parse-file "another.ly")
+\score { \notes { c4 }}
+@end verbatim
+
+@item The @code{font-encoding} property can now be used to select
+differently encoded fonts. The previous default setting
+@code{TeX-text} has been replaced by latin1. LilyPond requires the
+@uref{http://www.lilypond.org/download/fonts/,ec-fonts-mftraced}
+package installed to function properly.
+
+@item The encoding of a file can be switched with
+@code{\encoding}. The strings for markup texts are translated
+automatically.
+
+@item The toplevel block @code{\book} introduces page layout.
+A @code{\book} groups @code{\score} blocks into one page layout
+entity. For example, two scores are combined in one book with
+
+@example
+\book @{
+ \score @{ ... @}
+ \score @{ ... @}
+@}
+@end example
+
+
+@item
+Titling and page breaks are handled by LilyPond. Page breaks may be
+inserted manually with
+
+@example
+ \pageBreak
+@end example
+
+@item
+Invoking @code{lilypond} runs the actual binary, which not use
+La@TeX{} for titling or page layout. If you need La@TeX{} code in
+titles, you can use the @code{lilypond-book} program. The former
+@code{lilypond} script has been retained as @code{lilypond-latex}.
+
+@item There is now less of a noticeable ``hook'' at the end of a long slur.
+
+@item The meaning of the @code{|} in the input can be redefined, by
+ assigning a music expression to @code{pipeSymbol}.
+
+@end itemize
+
+
+
+@c ****************************************************************
+
+@unnumbered New features in 2.2 since 2.0
+
+@itemize @bullet
+
+@item Setting @code{raggedlast = ##t} in the @code{\paper} block
+causes the last line to be set flush-left instead of justified.
+
+@item The @code{Timing_engraver} now sets the @code{Timing} alias on
+its containing context automatically.
+
+@item The code for font selection has been rewritten. In addition to
+existing font selection properties, the property @code{font-encoding}
+has been added, which makes the switch between normal @code{text} and
+other encodings like @code{braces}, @code{music} and @code{math}.
+
+@item The pmx2ly script has been removed from the distribution.
+
+@item Pedal brackets will now run to the last bar of a piece if they are not
+explicitly ended.
+
+@item Context definitions now use the word @code{\context} instead of @code{\translator}.
+
+@item Property functions may be used as an argument to @code{set!},
+for example
+
+@example
+ (set! (ly:grob-property grob 'beam) ... )
+@end example
+
+@item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
+images.
+
+@item Cue notes can be quoted directly from the parts that
+contain them. This will take into account transposition of source and target
+instrument. For example,
+
+@verbatim
+\addquote clarinet \notes\relative c' {
+ \transposition bes
+ fis4 fis fis fis
+}
+
+\score {
+ \notes \relative c'' {
+ c8 d8 \quote 2 oboe es8 gis
+ }
+}
+@end verbatim
+
+@item The transposition of an instrument can be specified using the
+@code{\transposition} command. An
+E-flat alto saxophone is specified as
+
+@example
+ \transposition es'
+@end example
+
+@item The naming of exported Scheme functions now follows Scheme conventions.
+Changes be applied to Scheme files with
+
+@example
+ convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
+@end example
+
+
+@item Notes can be excluded from auto-beaming, by marking them with
+@code{\noBeam}
+@example
+ c8 c \noBeam c c
+@end example
+
+@noindent
+will print two separate eighth notes, and two beamed notes.
+
+@item Translators and contexts have been split. The result of this
+internal cleanup is that @code{Score} no longer is the top context;
+@code{Score} is contained in the @code{Global} context. Consequently,
+it is possible to tweak @code{Score} as follows:
+
+@example
+ \context Score \with @{
+ @dots{}
+ @}
+@end example
+
+@item The number of staff lines in Tablature notation is now
+automatically deduced from the @code{stringTunings} property.
+
+@item The program reference has been cleaned up and revised.
+
+@item The syntax for setting properties has been simplified:
+the following table lists the differences:
+
+@example
+ (old) (new)
+
+\property A.B = #C \set A.B = #C
+\property A.B \unset \unset A.B
+\property A.B \set #C = #D \override A.B #C = #D
+\property A.B \override #C = #D (removed)
+\property A.B \revert #C \revert A.B #C
+@end example
+
+Furthermore, if @code{A} is left out, the bottommost context is used
+by default. In other words, it is no longer necessary to explicitly
+mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
+
+Old:
+
+@example
+ \property Voice.autoBeaming = ##f
+ \property Staff.TimeSignature \set #'style = #'C
+@end example
+
+New:
+
+@example
+ \set autoBeaming = ##f
+ \override Staff.TimeSignature #'style = #'C
+@end example
+
+
+@item Tweaks made with @code{\override} and @code{\revert} no longer
+hide tweaks at higher context levels.
+
+@item Melismata in lyrics are also properly handled in the MIDI output.
+
+@item The lilypond-book script has been rewritten.
+It is shorter, cleaner and faster. The special construct
+@code{mbinclude} has been removed, plain @code{@@include} or
+@code{\input} can be used now.
+
+It now supports running convert-ly on the lilypond snippets,
+@example
+ lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
+@end example
+
+@item The @code{LyricsVoice} context has been removed. Lyrics should only
+be constructed in @code{Lyrics}.
+
+@item The @code{Thread} context has been removed. Note heads and rests
+are now constructed at @code{Voice} level.
+
+@item Harmonic notes can now be entered as
+
+@example
+ <c' g''\harmonic>
+@end example
+
+@item Drum notation is now supported as a regular feature:
+percussion may be entered in @code{\drums} mode, and printed or
+performed in a @code{DrumStaff} context:
+
+@example
+ \score @{
+ \drums \new DrumStaff @{ hihat4 cowbell8 @}
+ @}
+@end example
+
+@item The automatic staff changer was internally rewritten. As a
+result, the syntax has been simplified as well:
+
+@example
+ \autochange @var{the-music}
+@end example
+
+@item The ergonomic syntax of @code{\markup} now has an equivalent in
+Scheme. The @code{markup*} macro creates such objects; the following
+two markup commands are equivalent:
+@example
+ f4^#(markup* #:raise 0.2 #:bold "hi")
+ f4^\markup @{ \raise #0.2 \bold hi @}
+@end example
+
+@item Voice names, for vocal lines, have been added. They are similar
+to instrument names. They can be set by defining @code{vocalName}
+and @code{vocNam}.
+
+@item Safe mode has been reinstated for lilypond.
+When lilypond is invoked with @code{--safe-mode}, @TeX{} and
+PostScript file output is disallowed, and lilypond-bin is invoked with
+@code{--safe-mode}, the user's Guile expressions are evaluated in a
+safe environment and file inclusion is not allowed.
+
+Warning: this does not protect against denial-of-service attacks using
+Guile, @TeX{} or PostScript.
+
+(This feature is still experimental.)
+
+@item There is now a Scheme macro for defining markup
+commands. Special mark-up commands can be defined in user-files too.
+
+@item Many fixes for dimension scaling have been made,
+resulting in correct results for scores that mix staves in different
+sizes.
+
+@item Improved robustness when layout properties are accidentally removed.
+
+@item A more cleanly constructed part combiner has been installed.
+It is more robust and less buggy. The part-combiner can be used with
+@example
+ \partcombine @var{mus1} @var{mus2}
+@end example
+
+@noindent
+See @file{input/regression/new-part-combine.ly} for an example.
+
+@item Formatting of rehearsal marks has been improved. The @code{\mark}
+command now only does automatic incrementing for marks specified as
+integer. For example, @code{\mark #1} will print an A in the default
+style. See @file{input/regression/rehearsal-mark-letter.ly},
+@file{input/regression/rehearsal-mark-number.ly}.
+
+@item Formatting of ottava brackets has been much improved.
+
+@item Objects in the output can now be documented: the following fragment
+ boxes the note head, and adds the text ``heads or tails?'' three
+spaces below the box.
+
+@example
+ \context Voice \applyoutput #(add-balloon-text
+ 'NoteHead "heads, or tails?"
+ '(0 . -3))
+
+
+ c8
+@end example
+
+
+@item Default staff sizes are now scalable. There are two new mechanisms for
+setting staff sizes. Both are demonstrated in this fragment:
+
+@example
+ #(set-global-staff-size 15)
+ \paper @{
+ #(paper-set-staff-size (* 15 pt))
+ @}
+@end example
+
+
+@noindent
+Both have the same effect on the global layout of a piece. Similarly,
+the paper size may be changed as follows
+
+@example
+ #(set-default-paper-size "a4")
+ \paper @{
+ #(set-paper-size "a4")
+ @}
+@end example
+
+
+@item Warnings for bar check errors are more cleverly printed. This
+makes @code{barCheckSynchronize} superfluous, so it is now switched
+off by default.
+
+Warning: this will cause problems in scores that use bar checks to
+shorten measures.
+
+@item The black note head was made a little rounder, which causes a less
+ frantic graphic impression.
+
+@item
+A more concise syntax for checking octaves was introduced. A note may
+be followed by @code{=}@var{quotes} which indicates what its absolute
+octave should be. In the following example,
+
+@example
+ \relative c'' @{ c='' b=' d,='' @}
+@end example
+
+@noindent
+the d will generate a warning, because a d'' is
+expected, but a d' is found.
+@c @code adds ` ', very confusing.
+
+@item There is a new mechanism for putting lyrics to melodies.
+With this mechanism, @code{Lyrics} lines can be put melodies
+individually, allowing for different melismatic sections in every
+@code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
+
+@item Bar lines may now be dotted.
+
+
+@item The documentation now has links to a wiki, where everyone can
+add personal comments to the manual.
+
+@item Contexts may now be changed locally for an isolated music
+expression. For example,
+
+@example
+ \new Voice \with @{
+ \consists "Pitch_squash_engraver"
+ @} @{
+ c'4
+ @}
+@end example
+
+@item The syntax for changing staffs has changed. The keyword
+@code{\change} should now be used, e.g.
+
+@example
+ \change Staff = up
+@end example
+
+@item Features of spanner contexts, like @code{Staff}, can now be changed
+ using @code{\set}, eg.
+
+@example
+ \new Staff @{
+ \override Staff.StaffSymbol #'line-count = #4
+ c'4
+ @}
+@end example
+
+@noindent
+puts a quarter note C on a staff with 4 lines.
+
+
+@item Multi measure rests are now truly centered between the
+clefs/barlines of the staff, their position is independent of symbols
+on the other staffs.
+
+@item Collision resolution for dots in chords has been improved greatly.
+
+@item
+Spacing following barlines was improved for widely stretched lines.
+
+@item
+Lyric hyphens and extenders now conform to standard typesetting
+practice.
+
+@item
+Lyrics are now aligned under note heads conforming to engraving
+standards. The responsible code has been rewritten, and is drastically
+simpler from the previous version. To aid this rewrite, the syntactic
+function of the extender line ( __ ) has been changed: it is now
+attached to the lyric syllable.
+
+@item
+When redefining a context, the associated identifier is also
+updated. For example, after reading
+
+@example
+ \translator @{
+ \ScoreContext
+ autoBeaming = ##f
+ @}
+@end example
+
+@noindent
+the definition of @code{ScoreContext} is updated to include the changed
+setting.
+
+
+@item
+The weight of the stafflines is now heavier at smaller staff sizes.
+The font has been modified to match this look: at smaller sizes, the
+font is heavier and the note heads are more rounded.
+
+@item Processing scores is now done while parsing the file. New
+Scheme functions give more flexibility: for example, it is now possible
+interpret a score, collecting synchronized musical events in a list, and
+manipulate that information using inline Scheme. For an example, see
+@file{input/no-notation/recording.ly}.
+
+@item Font sizes can now truly be scaled continuously: the @code{font-size}
+is similar to the old @code{font-relative-size}, but may be set to
+fractional values; the closest design size will be scaled to achieve
+the desired size. As a side-effect, there are now no longer
+limitations in using smaller fonts (eg. grace notes) at small staff
+sizes.
+
+@item Stem tips are now also engraved with rounded corners.
+
+@item
+The placement of accidentals on chords and ledgered notes is improved.
+
+@end itemize
+
+
+@unnumbered New features in 2.0 since 1.8
+
+@itemize
+
+@item
+Crescendos can now be drawn dotted or dashed.
+
+@item
+Quarter tones are now supported. They are entered by suffixing
+@code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
+following is an ascending list of pitches:
+
+@example
+ ceses ceseh ces ceh c cih cis cisih cisis
+@end example
+
+@item
+The following constructs have been removed from the syntax:
+
+@example
+ \duration #SCHEME-DURATION
+ \pitch #SCHEME-PITCH
+ \outputproperty @var{func} @var{symbol} = @var{value}
+@end example
+
+For @code{\outputproperty}, the following may be substituted:
+
+@example
+ \applyoutput #(outputproperty-compatibility @var{func}
+ @var{symbol} @var{value})
+@end example
+
+@item
+Clefs may now be transposed arbitrarily, for example
+
+@example
+ \clef "G_8"
+ \clef "G_15"
+ \clef "G_9"
+@end example
+
+
+@item
+The syntax for chords and simultaneous music have changed.
+Chords are entered as
+
+@example
+ <@var{pitches}>
+@end example
+
+while simultaneous music is entered as
+
+@example
+ <<@var{..music list..}>>
+@end example
+
+In effect, the meanings of both have been swapped relative to their 1.8
+definition. The syntax for lists in @code{\markup} has changed
+alongside, but figured bass mode was not changed, i.e.:
+
+@example
+ \markup @{ \center <@var{..list of markups..}> @}
+ \figure @{ <@var{figures}> @}
+@end example
+
+As chords the more often used than simultaneous music, this change will
+save keystrokes.
+
+@item
+Each music expression can now be tagged, to make different printed
+versions from the same music expression. In the following example,
+we see two versions of a piece of music, one for the full score, and
+one with cue notes for the instrumental part:
+
+@example
+<< \tag #'part <<
+ @{ c4 f2 g4 @} % in the part, we have cue-notes
+ \\ R1 >>
+ \tag #'score R1 % in the score: only a rest
+>>
+@end example
+
+The same can be applied to articulations, texts, etc.: they are
+made by prepending
+
+@example
+ -\tag #@var{your-tags}
+@end example
+
+to an articulation, for example,
+
+@example
+ c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
+@end example
+
+This defines a note, which has a conditional fingering and a
+string-number indication.
+
+@item
+The settings for chord-fingering are more flexible. You can specify a
+list where fingerings may be placed, eg.
+
+@example
+ \property Voice.fingeringOrientations = #'(left down)
+@end example
+
+This will put the fingering for the lowest note below the chord, and the
+rest to the left.
+
+@item
+The script previously known as @code{ly2dvi} has been renamed to
+@code{lilypond}. The binary itself is now installed as
+@code{lilypond-bin}.
+
+@item
+Markup text (ie. general text formatting) may now be used for lyrics too.
+
+@item
+Two new commands for grace notes have been added, @code{\acciaccatura}
+and @code{\appoggiatura},
+
+@example
+ \appoggiatura f8 e4
+ \acciaccatura g8 f4
+@end example
+
+Both reflect the traditional meanings of acciaccatura and appogiatura,
+and both insert insert a slur from the first grace note to the main
+note.
+
+@item
+Layout options for grace notes are now stored in a context property,
+and may now be set separately from musical content.
+
+@item
+The @code{\new} command will create a context with a unique
+name automatically. Hence, for multi-staff scores, it is no longer
+necessary to invent arbitrary context names. For example, a two-staff
+score may be created by
+
+@example
+ \simultaneous @{
+ \new Staff @{ @var{notes for 1st staff} @}
+ \new Staff @{ @var{notes for 2nd staff} @}
+ @}
+@end example
+
+
+
+@item
+Octave checks make octave errors easier to correct.
+The syntax is
+
+@example
+ \octave @var{pitch}
+@end example
+
+This checks that @var{pitch} (without octave) yields @var{pitch} (with
+octave) in \relative mode. If not, a warning is printed, and the
+octave is corrected.
+
+@item
+All articulations must now be entered postfix. For example,
+
+@example
+ c8[( d8])
+@end example
+
+@noindent
+is a pair of beamed slurred eighth notes.
+
+@item
+The definition of @code{\relative} has been simplified. Octaves are
+now always propagated in the order that music is entered. In the
+following example,
+
+@example
+ PRE
+ \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
+ POST
+@end example
+
+@noindent
+the octave of BODY is based on PRE, the starting octave of ALT1 on
+BODY, the starting octave of ALT2 on ALT1, and the starting octave of
+POST on ALT2.
+
+The same mechanism is used for all other music expressions, except the
+chord. Backwards compatibility is retained through a special program option,
+which is set through
+
+@example
+ #(ly:set-option 'old-relative)
+@end example
+
+@item
+Windows users can double click a @code{.ly} file to process and view
+it automagically through the new @code{lily-wins} frontend.
+
+@end itemize
+
+
+
+
+@unnumbered New features in 1.8 since 1.6
+
+@itemize
+
+@item
+The chord entry code has been completely rewritten. It is now
+cleaner and more flexible.
+
+@item
+A new syntax has been added for text entry. This syntax is more
+friendly than the old mechanism, and it is implemented in a more
+robust and modular way. For more information, refer to the section on
+"Text markup" in the notation manual.
+
+@item
+The integration of the input language and Scheme has been made deeper:
+you can now use LilyPond identifiers in Scheme, and use Scheme
+expressions instead of LilyPond identifiers.
+
+@item
+The internal representation of music has been cleaned up completely
+and converted to Scheme data structures. The representation may be
+exported as XML.
+
+@item
+A new uniform postfix syntax for articulation has been introduced.
+A beamed slurred pair of eighth notes can be entered as
+
+@example
+ c8-[-( d8-]-)
+@end example
+
+In version 2.0, postfix syntax will be the only syntax
+available, and the dashes will become optional.
+
+This will simplify the language: all articulations can be entered as
+postfix, in any order.
+
+@item
+A new syntax has been added for chords:
+
+
+@example
+ << PITCHES >>
+@end example
+
+It is not necessary to update files to this syntax, but it will be for
+using LilyPond version 2.0. In version 2.0, this syntax will be
+changed to
+
+@example
+ < PITCHES >
+@end example
+
+for chords, and
+
+@example
+ \simultaneous @{ .. @}
+@end example
+
+for simultaneous music.
+
+To convert your files from <PITCHES> to <<PITCHES>>, use the script
+included in @file{buildscripts/convert-new-chords.py}.
+
+This change was introduced for the following reasons
+
+@itemize @bullet
+@item
+It solves the "start score with chord" problem, where you have to
+ state \context Voice explicitly when a chord was the start of a
+ Staff or Score.
+@item
+With the new syntax, it is possible to distinguish between
+ articulations (or fingerings) which are for a single chord note,
+ and which are for the entire chord. This allows for per-note
+ fingerings, and is more logical on the whole.
+@end itemize
+
+@item
+User code may now be executed during interpreting. The syntax for
+this code is
+
+@example
+ \applycontext #SCHEME-FUNCTION
+@end example
+
+@item
+User code may now be executed on arbitrary grobs during interpreting.
+The syntax for this feature is
+
+@example
+ \applyoutput #SCHEME-FUNCTION
+@end example
+
+@noindent
+SCHEME-FUNCTION takes a single argument, and is called for every grob
+that is created in the current context.
+
+@item
+New algorithms for chord-name formatting have been installed. They
+can be tuned and have ergonomic syntax for entering exceptions.
+
+@item
+Texts may now be put on multimeasure rests, e.g.
+
+@example
+ R1*20^\markup @{ "GP" @}
+@end example
+
+@item
+Ancient notation now prints ligatures in Gregorian square neumes
+notation, roughly following the typographical style of the Liber
+hymnarius of Solesmes, published in 1983. Ligatures are still printed
+without the proper line breaking and horizontal spacing.
+
+@item
+Glissandi can now be printed using the zigzag style.
+
+@item
+LilyPond can now print clusters. The syntax is
+
+@example
+ \apply #notes-to-clusters @{ NOTE NOTE .. @}
+@end example
+
+@item
+For irregular meters, beat grouping marks can be printed. The
+syntax for this is
+
+@example
+ #(set-time-signature 7 8 '(3 2 2))
+@end example
+
+
+@item
+Nested horizontal brackets for music analysis can now be printed:
+
+@example
+ NOTE-\startGroup
+ ..
+ NOTE-\stopGroup
+@end example
+
+
+@item Ottava brackets are now fully supported as a feature. The syntax
+is
+
+@example
+ #(set-octavation 1)
+@end example
+
+
+@item Metronome markings are printed when a \tempo command is processed.
+
+
+
+@item Fingerings can be put on chords horizontally.
+
+
+
+@item The appearance of various glyphs has been fine-tuned.
+
+
+
+@item Different types of percent style repeats may now be nested.
+
+
+
+@item The emacs support has been extended.
+
+
+@item
+The manual has been completely revised and extended.
+
+@end itemize
+
+@unnumbered New features in 1.6 since 1.4
+
+
+@itemize @bullet
+
+@item
+Support for figured bass and tablature.
+
+@item
+Completely rewritten beam formatting: provides much better output
+now.
+
+
+@item
+Completely revised and improved music font.
+
+
+@item
+Completely rewritten MIDI import support.
+
+@item
+Completely rewritten grace note support. Practically speaking this
+means that grace notes can be slurred to normal normal notes.
+
+
+@item
+Improved accidental handling and formatting: styles for producing
+cautionaries may vary, and complex collisions between accidentals of a
+chord are handled much better.
+
+@item
+Better spacing: both globally and locally. This includes subtle
+details like optical stem spacing.
+
+@item
+More support for ancient notation: mensural ligatures, ambitus
+(pitch range) of voices, more shapes, etc.
+
+@item
+More support for piano notation: bracket pedals, directed arpeggios,
+arpeggio brackets.
+
+@item
+Easier music polyphonic music entry.
+
+@item
+More extensibility, many speedups and bugfixes
+
+@item
+The manual has been thoroughly revised.
+
+@item
+Development is now hosted at http://savannah.gnu.org, and sources
+can be downloaded through anonymous CVS.
+
+@item
+Support for windows: LilyPond is part of the cygwin distribution,
+which comes with a user-friendly installer.
+
+@end itemize
+++ /dev/null
-\input texinfo @c -*-texinfo-*-
-@setfilename NEWS.info
-@settitle NEWS
-
-@node Top, , ,
-@top
-@unnumbered New features in 2.5 since 2.4
-
-@itemize @bullet
-
-@item
-The PostScript backend is now used by default. This backend requires
-less machinery to run, and gives more consistent results.
-
-Due bugs in GhostScript's PDF handling, it is recommended to upgrade
-to GhostScript 8.x.
-
-@item
-Separator slashes may be inserted between systems in a score. See
-@file{input/regression/system-separator.ly} for an example.
-
-@item
-Locations of errors in the input are now calculated more precisely.
-
-@item
-LilyPond now uses Pango and FontConfig for selecting and rendering
-internationalized text in non-@TeX{} backends. A font may be selected
-by using a FontConfig name,
-
-@example
-\override TextScript #'font-name = #"Serif"
-@end example
-
-
-@noindent
-or using the classic font selection mechanism
-
-@example
-\override TextScript #'font-family = #'roman
-\override TextScript #'font-series = #'bold
-@end example
-
-@noindent
-Input strings encoded in UTF-8 are then rendered through Pango.
-
-@item
-Metrics of blocks of text can be retrieved from (La)@TeX{} directly,
-using the @code{-f texstr} output backend. This provides exact metrics
-for texts, including kerning and accents.
-
-@item
-LilyPond now uses FreeType read the Feta font as an OpenType
-font. This is cleaner design and more robust. A recent version of
-FontForge (11122004 or newer) and Freetype is required.
-
-As a result, the SVG backend is now a fully functional backend.
-
-@item
-A new script, @code{\espressivo} has been added, for a combination of
-crescendo and decrescendo on a single note.
-
-@item
-In markups, expressions stacked with @code{\column},
-@code{\center-align}, etc, are not grouped with @code{< ... >} anymore,
-but with @code{@{ ... @}}, eg:
-@example
-\markup \column @{
- \line @{ first line @}
- \line @{ second line @}
-@}
-@end example
-
-@item
-LilyPond will now avoid line breaks that cause long texts to stick
-outside of the page staff.
-
-@item
-Grace notes following a main note, used to be entered by letting the
-grace notes follow a skip in a parallel expression, for example,
-
-@verbatim
- << { d1 }
- { s2 \grace { c16[ d] } } >>
- c4
-@end verbatim
-
-@noindent
-This can now be shortened by doing
-
-@example
-\afterGrace @{ d1 @} @{ c16[ d] @}
-@end example
-
-@item
-Pagebreaks can now be forced or forbidden after title blocks. This is
-achieved by setting @code{breakbefore} in the @code{\header} block to
-true or false.
-
-@item
-Shaped note heads. This feature has been sponsored by Jonathan Walther.
-
-@item
-Layout for titles, page header and footer can now be entered as
-@code{\markup} commands.
-
-@item Positioning of slurs can now be adjusted manually
-
-@item Grace notes are correctly quoted and formatted when using cue notes.
-
-@item Cue notes can now be created with
-
-@example
-\cueDuring #@var{voice-name} #@var{direction} @{ @var{music} @}
-@end example
-
-@noindent
-This will set stem directions and put the cue notes in the @code{cue}
-@code{Voice}
-
-@item Stemlets, short stems over beamed rests, have been added.
-
-@end itemize
-
-
-@unnumbered New features in 2.4 since 2.2
-
-@itemize @bullet
-
-@item Parts that use @code{\quote} can now be transposed.
-
-@item LilyPond does not try to produce output for files that
-have a parse error.
-
-@item @code{lilypond-book} will now remove any output files that
-contain failed music snippets.
-
-@item The mode changing commands (@code{\chords}, @code{\lyrics}, etc.)
-have been renamed to @code{\chordmode}, @code{\lyricmode}, etc. The
-command @code{\chords} is an abbreviation for
-
-@example
- \new ChordNames \chordmode ...
-@end example
-
-@noindent
-@code{\drums}, @code{\lyrics}, @code{\chords}, @code{\figures}
-function similarly.
-
-@item The types of events quoted with @code{\quote} can now be tuned
-with @code{quotedEventTypes}. By default, only notes and rests end up
-in quotes.
-
-@item LilyPond will try to keep
-staves at the same distances across a page, but it will stretch
-distances to prevent collisions. This results in a more even
-appearance of the page.
-
-@item Key signature cancellations are now printed before the bar line,
-and their appearance has been improved.
-
-@item Different voices that all use @code{\quote} can now refer to
-each other.
-
-
-@item The automatic staff changer, which is invoked with
-@code{\autochange}, now creates the @code{up} and @code{down} staff
-automatically, and uses bass clef for the bottom staff.
-
-@item There is now support for putting two slurs on chords, both above
-and below. This is switched on with the @code{doubleSlurs} property.
-
-@item Running trills now have their own spanner and event,
-
-@example
- c1\startTrillSpan c4\stopTrillSpan
-@end example
-
-@item There is a new markup command @code{\postscript} that takes a
-string that is dumped as verbatim PostScript in the output.
-
-@item The melody for a @code{\lyricsto} text can be changed during a
-melody by setting the @code{associatedVoice} property.
-
-@item The @code{\lyricsto} keyword now automatically switches on
-lyrics mode.
-
-@item The LilyPond binary now supports output options
-@code{--dvi} @code{--png} @code{--ps} @code{--pdf} and
-@code{--preview}. The old wrapper script for La@TeX{} has been
-renamed to @code{lilypond-latex}.
-
-@item Support for ambitus has been rewritten. The Ambitus object is now
-a grouping object, composed of @code{AmbitusLine},
-@code{AmbitusAccidental} and @code{AmbitusNoteHead}. These objects may
-be tuned similar to accidentals and note heads.
-
-@item Ledger lines are now shortened when the spacing is tight. This
-prevents ledger lines from colliding with each other.
-
-@item Slur formatting has been rewritten. The new slur code
-works similar to the Beam formatter: scores are assigned for all
-esthetic components of a slur. A large number of combinations for
-begin and end points is then tried out. Slurs will now also take into
-account collisions with staff lines, scripts (like staccato and
-accent) and accidentals.
-
-
-@item In the LilyPond emacs mode, entering @code{|} will display the
- current beat within the measure.
-
-@item Colliding notes are now correctly aligned relative to notes in other staves.
-
-@item An experimental GNOME output backend is available for developers.
-It depends on several unreleased packages such as gnome-guile TLA and
-Pango CVS. The output interface coverage is sparse, but it already
-does support point-and-click on the GNOME Canvas. See also
-@file{scm/output-gnome.scm}.
-
-@item Context definitions are now stored in identifiers that match the
-context name, in other words, to modify a @code{Staff} context, the
-following code may be used.
-
-@example
-\context @{
- \Staff
- ..
-@}
-@end example
-
-@item
-The @code{\paper} block has been renamed to @code{\layout}. A new
-@code{\paper} block has been introduced to hold settings for paper
-size and output scaling. Further options include @code{raggedbottom}
-(if set, systems are not vertically filled to reach the bottom of the
-page), and @code{raggedlastbottom}.
-
-
-@item Support for fret diagrams has been contributed by Carl
-D. Sorensen. @file{input/test/fret-diagram.ly} contains an example.
-
-@item The @code{--safe-mode} has been revisited: GUILE evaluation
-is done in the R5RS safe module, with only the basic @code{ly:}
-interface available and malicious @TeX{} code is stopped. However, to
-be reasonably safe, you are advised to use the PostScript backend
-rather than the @TeX{} backend anyway; and if possible use an UML
-sandbox to run gs or latex.
-
-@item Music syntax can now be extended seamlessly. As an example,
-here is the new implementation @code{\applymusic},
-
-@example
- applymusic = #(ly:make-music-function
- (list procedure? ly:music?) ; signature
- (lambda (where func music) ; the function
- (func music)))
-@end example
-
-@item @code{\apply} has been renamed to @code{\applymusic}.
-
-@item Music can be used as a markup.
-When inserting a @code{score} block as part of a @code{\markup}, it
-produces a rendered markup of the music. An example is in
-@file{input/test/markup-score.ly}.
-
-@item LilyPond expressions can be embedded into Scheme. The syntax for
-this is @code{#@{ ... #@}}. Within such a block, Scheme forms can be
-introduced using a @code{$} character (@code{$$} results in a single
-`$' character). These forms are then inserted in the pattern.
-
-@example
-#(define (textoffset dx dy)
- (ly:export
- #@{ \override Voice.TextScript #'extra-offset = #(cons $dx $dy) #@}))
-
-@{
- c'^"normal text"
- %% The following embedded scheme call is the same as
- %% \override Voice.TextScript #'extra-offset = #(cons 2 -3)
- #(textoffset 2 -3)
- c'^"text with offset"
-@}
-@end example
-
-@item A music list at toplevel is interpreted as implicit @code{\score}
-a @code{\score} block at toplevel is interpreted as an implicit
-@code{\book} and @code{\notemode} mode is the default lexer mode. The
-result is that
-
-@example
-\header @{ title = "The Title" @}
-@{ a b c @}
-@end example
-
-is interpreted as
-
-@example
-\header @{ title = "The Title" @}
-\book @{
- \score @{
- \notemode @{ a b c @}
- @}
-@}
-@end example
-
-This is handled by the function defined in
-@code{toplevel-music-handler}. Similarly, @code{\score} and
-@code{\book} are handled by @code{toplevel-score-handler} and a
-@code{toplevel-book-handler}. By changing these variables, different
-results can be obtained.
-
-@item Mode changing commands,
-such as @code{\chordmode} and @code{\figuremode} must now be directly
-followed by delimiters. The following example demonstrates the new
-behavior,
-
-@verbatim
- \figuremode \context Figures { .. } % wrong
- \context Figures \figuremode { .. } % right
-@end verbatim
-
-
-@item The starting pitch for @code{relative} music is optional for music lists.
-The default value is middle C.
-
-@item Combining lyrics with music can be done with @code{\addlyrics}
-
-@example
- \relative @{
- \clef bass
- d2 d c4 bes a2 \break
- @}
- \addlyrics @{
- My first Li -- ly song,
- @}
- \addlyrics @{
- Not much can go wrong!
- @}
-@end example
-
-Syntactically, @code{\addlyrics} is an infix operator. It is a
-shortcut for a combination of @code{\new Lyrics}, @code{\lyricmode}
-and @code{\lyricsto}.
-
-@item The parser is encapsulated in a Scheme function
-@code{ly:parse-file}, so the following fragment processes two files
-
-@verbatim
-#(ly:parse-file "another.ly")
-\score { \notes { c4 }}
-@end verbatim
-
-@item The @code{font-encoding} property can now be used to select
-differently encoded fonts. The previous default setting
-@code{TeX-text} has been replaced by latin1. LilyPond requires the
-@uref{http://www.lilypond.org/download/fonts/,ec-fonts-mftraced}
-package installed to function properly.
-
-@item The encoding of a file can be switched with
-@code{\encoding}. The strings for markup texts are translated
-automatically.
-
-@item The toplevel block @code{\book} introduces page layout.
-A @code{\book} groups @code{\score} blocks into one page layout
-entity. For example, two scores are combined in one book with
-
-@example
-\book @{
- \score @{ ... @}
- \score @{ ... @}
-@}
-@end example
-
-
-@item
-Titling and page breaks are handled by LilyPond. Page breaks may be
-inserted manually with
-
-@example
- \pageBreak
-@end example
-
-@item
-Invoking @code{lilypond} runs the actual binary, which not use
-La@TeX{} for titling or page layout. If you need La@TeX{} code in
-titles, you can use the @code{lilypond-book} program. The former
-@code{lilypond} script has been retained as @code{lilypond-latex}.
-
-@item There is now less of a noticeable ``hook'' at the end of a long slur.
-
-@item The meaning of the @code{|} in the input can be redefined, by
- assigning a music expression to @code{pipeSymbol}.
-
-@end itemize
-
-
-
-@c ****************************************************************
-
-@unnumbered New features in 2.2 since 2.0
-
-@itemize @bullet
-
-@item Setting @code{raggedlast = ##t} in the @code{\paper} block
-causes the last line to be set flush-left instead of justified.
-
-@item The @code{Timing_engraver} now sets the @code{Timing} alias on
-its containing context automatically.
-
-@item The code for font selection has been rewritten. In addition to
-existing font selection properties, the property @code{font-encoding}
-has been added, which makes the switch between normal @code{text} and
-other encodings like @code{braces}, @code{music} and @code{math}.
-
-@item The pmx2ly script has been removed from the distribution.
-
-@item Pedal brackets will now run to the last bar of a piece if they are not
-explicitly ended.
-
-@item Context definitions now use the word @code{\context} instead of @code{\translator}.
-
-@item Property functions may be used as an argument to @code{set!},
-for example
-
-@example
- (set! (ly:grob-property grob 'beam) ... )
-@end example
-
-@item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
-images.
-
-@item Cue notes can be quoted directly from the parts that
-contain them. This will take into account transposition of source and target
-instrument. For example,
-
-@verbatim
-\addquote clarinet \notes\relative c' {
- \transposition bes
- fis4 fis fis fis
-}
-
-\score {
- \notes \relative c'' {
- c8 d8 \quote 2 oboe es8 gis
- }
-}
-@end verbatim
-
-@item The transposition of an instrument can be specified using the
-@code{\transposition} command. An
-E-flat alto saxophone is specified as
-
-@example
- \transposition es'
-@end example
-
-@item The naming of exported Scheme functions now follows Scheme conventions.
-Changes be applied to Scheme files with
-
-@example
- convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
-@end example
-
-
-@item Notes can be excluded from auto-beaming, by marking them with
-@code{\noBeam}
-@example
- c8 c \noBeam c c
-@end example
-
-@noindent
-will print two separate eighth notes, and two beamed notes.
-
-@item Translators and contexts have been split. The result of this
-internal cleanup is that @code{Score} no longer is the top context;
-@code{Score} is contained in the @code{Global} context. Consequently,
-it is possible to tweak @code{Score} as follows:
-
-@example
- \context Score \with @{
- @dots{}
- @}
-@end example
-
-@item The number of staff lines in Tablature notation is now
-automatically deduced from the @code{stringTunings} property.
-
-@item The program reference has been cleaned up and revised.
-
-@item The syntax for setting properties has been simplified:
-the following table lists the differences:
-
-@example
- (old) (new)
-
-\property A.B = #C \set A.B = #C
-\property A.B \unset \unset A.B
-\property A.B \set #C = #D \override A.B #C = #D
-\property A.B \override #C = #D (removed)
-\property A.B \revert #C \revert A.B #C
-@end example
-
-Furthermore, if @code{A} is left out, the bottommost context is used
-by default. In other words, it is no longer necessary to explicitly
-mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
-
-Old:
-
-@example
- \property Voice.autoBeaming = ##f
- \property Staff.TimeSignature \set #'style = #'C
-@end example
-
-New:
-
-@example
- \set autoBeaming = ##f
- \override Staff.TimeSignature #'style = #'C
-@end example
-
-
-@item Tweaks made with @code{\override} and @code{\revert} no longer
-hide tweaks at higher context levels.
-
-@item Melismata in lyrics are also properly handled in the MIDI output.
-
-@item The lilypond-book script has been rewritten.
-It is shorter, cleaner and faster. The special construct
-@code{mbinclude} has been removed, plain @code{@@include} or
-@code{\input} can be used now.
-
-It now supports running convert-ly on the lilypond snippets,
-@example
- lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
-@end example
-
-@item The @code{LyricsVoice} context has been removed. Lyrics should only
-be constructed in @code{Lyrics}.
-
-@item The @code{Thread} context has been removed. Note heads and rests
-are now constructed at @code{Voice} level.
-
-@item Harmonic notes can now be entered as
-
-@example
- <c' g''\harmonic>
-@end example
-
-@item Drum notation is now supported as a regular feature:
-percussion may be entered in @code{\drums} mode, and printed or
-performed in a @code{DrumStaff} context:
-
-@example
- \score @{
- \drums \new DrumStaff @{ hihat4 cowbell8 @}
- @}
-@end example
-
-@item The automatic staff changer was internally rewritten. As a
-result, the syntax has been simplified as well:
-
-@example
- \autochange @var{the-music}
-@end example
-
-@item The ergonomic syntax of @code{\markup} now has an equivalent in
-Scheme. The @code{markup*} macro creates such objects; the following
-two markup commands are equivalent:
-@example
- f4^#(markup* #:raise 0.2 #:bold "hi")
- f4^\markup @{ \raise #0.2 \bold hi @}
-@end example
-
-@item Voice names, for vocal lines, have been added. They are similar
-to instrument names. They can be set by defining @code{vocalName}
-and @code{vocNam}.
-
-@item Safe mode has been reinstated for lilypond.
-When lilypond is invoked with @code{--safe-mode}, @TeX{} and
-PostScript file output is disallowed, and lilypond-bin is invoked with
-@code{--safe-mode}, the user's Guile expressions are evaluated in a
-safe environment and file inclusion is not allowed.
-
-Warning: this does not protect against denial-of-service attacks using
-Guile, @TeX{} or PostScript.
-
-(This feature is still experimental.)
-
-@item There is now a Scheme macro for defining markup
-commands. Special mark-up commands can be defined in user-files too.
-
-@item Many fixes for dimension scaling have been made,
-resulting in correct results for scores that mix staves in different
-sizes.
-
-@item Improved robustness when layout properties are accidentally removed.
-
-@item A more cleanly constructed part combiner has been installed.
-It is more robust and less buggy. The part-combiner can be used with
-@example
- \partcombine @var{mus1} @var{mus2}
-@end example
-
-@noindent
-See @file{input/regression/new-part-combine.ly} for an example.
-
-@item Formatting of rehearsal marks has been improved. The @code{\mark}
-command now only does automatic incrementing for marks specified as
-integer. For example, @code{\mark #1} will print an A in the default
-style. See @file{input/regression/rehearsal-mark-letter.ly},
-@file{input/regression/rehearsal-mark-number.ly}.
-
-@item Formatting of ottava brackets has been much improved.
-
-@item Objects in the output can now be documented: the following fragment
- boxes the note head, and adds the text ``heads or tails?'' three
-spaces below the box.
-
-@example
- \context Voice \applyoutput #(add-balloon-text
- 'NoteHead "heads, or tails?"
- '(0 . -3))
-
-
- c8
-@end example
-
-
-@item Default staff sizes are now scalable. There are two new mechanisms for
-setting staff sizes. Both are demonstrated in this fragment:
-
-@example
- #(set-global-staff-size 15)
- \paper @{
- #(paper-set-staff-size (* 15 pt))
- @}
-@end example
-
-
-@noindent
-Both have the same effect on the global layout of a piece. Similarly,
-the paper size may be changed as follows
-
-@example
- #(set-default-paper-size "a4")
- \paper @{
- #(set-paper-size "a4")
- @}
-@end example
-
-
-@item Warnings for bar check errors are more cleverly printed. This
-makes @code{barCheckSynchronize} superfluous, so it is now switched
-off by default.
-
-Warning: this will cause problems in scores that use bar checks to
-shorten measures.
-
-@item The black note head was made a little rounder, which causes a less
- frantic graphic impression.
-
-@item
-A more concise syntax for checking octaves was introduced. A note may
-be followed by @code{=}@var{quotes} which indicates what its absolute
-octave should be. In the following example,
-
-@example
- \relative c'' @{ c='' b=' d,='' @}
-@end example
-
-@noindent
-the d will generate a warning, because a d'' is
-expected, but a d' is found.
-@c @code adds ` ', very confusing.
-
-@item There is a new mechanism for putting lyrics to melodies.
-With this mechanism, @code{Lyrics} lines can be put melodies
-individually, allowing for different melismatic sections in every
-@code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
-
-@item Bar lines may now be dotted.
-
-
-@item The documentation now has links to a wiki, where everyone can
-add personal comments to the manual.
-
-@item Contexts may now be changed locally for an isolated music
-expression. For example,
-
-@example
- \new Voice \with @{
- \consists "Pitch_squash_engraver"
- @} @{
- c'4
- @}
-@end example
-
-@item The syntax for changing staffs has changed. The keyword
-@code{\change} should now be used, e.g.
-
-@example
- \change Staff = up
-@end example
-
-@item Features of spanner contexts, like @code{Staff}, can now be changed
- using @code{\set}, eg.
-
-@example
- \new Staff @{
- \override Staff.StaffSymbol #'line-count = #4
- c'4
- @}
-@end example
-
-@noindent
-puts a quarter note C on a staff with 4 lines.
-
-
-@item Multi measure rests are now truly centered between the
-clefs/barlines of the staff, their position is independent of symbols
-on the other staffs.
-
-@item Collision resolution for dots in chords has been improved greatly.
-
-@item
-Spacing following barlines was improved for widely stretched lines.
-
-@item
-Lyric hyphens and extenders now conform to standard typesetting
-practice.
-
-@item
-Lyrics are now aligned under note heads conforming to engraving
-standards. The responsible code has been rewritten, and is drastically
-simpler from the previous version. To aid this rewrite, the syntactic
-function of the extender line ( __ ) has been changed: it is now
-attached to the lyric syllable.
-
-@item
-When redefining a context, the associated identifier is also
-updated. For example, after reading
-
-@example
- \translator @{
- \ScoreContext
- autoBeaming = ##f
- @}
-@end example
-
-@noindent
-the definition of @code{ScoreContext} is updated to include the changed
-setting.
-
-
-@item
-The weight of the stafflines is now heavier at smaller staff sizes.
-The font has been modified to match this look: at smaller sizes, the
-font is heavier and the note heads are more rounded.
-
-@item Processing scores is now done while parsing the file. New
-Scheme functions give more flexibility: for example, it is now possible
-interpret a score, collecting synchronized musical events in a list, and
-manipulate that information using inline Scheme. For an example, see
-@file{input/no-notation/recording.ly}.
-
-@item Font sizes can now truly be scaled continuously: the @code{font-size}
-is similar to the old @code{font-relative-size}, but may be set to
-fractional values; the closest design size will be scaled to achieve
-the desired size. As a side-effect, there are now no longer
-limitations in using smaller fonts (eg. grace notes) at small staff
-sizes.
-
-@item Stem tips are now also engraved with rounded corners.
-
-@item
-The placement of accidentals on chords and ledgered notes is improved.
-
-@end itemize
-
-
-@unnumbered New features in 2.0 since 1.8
-
-@itemize
-
-@item
-Crescendos can now be drawn dotted or dashed.
-
-@item
-Quarter tones are now supported. They are entered by suffixing
-@code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
-following is an ascending list of pitches:
-
-@example
- ceses ceseh ces ceh c cih cis cisih cisis
-@end example
-
-@item
-The following constructs have been removed from the syntax:
-
-@example
- \duration #SCHEME-DURATION
- \pitch #SCHEME-PITCH
- \outputproperty @var{func} @var{symbol} = @var{value}
-@end example
-
-For @code{\outputproperty}, the following may be substituted:
-
-@example
- \applyoutput #(outputproperty-compatibility @var{func}
- @var{symbol} @var{value})
-@end example
-
-@item
-Clefs may now be transposed arbitrarily, for example
-
-@example
- \clef "G_8"
- \clef "G_15"
- \clef "G_9"
-@end example
-
-
-@item
-The syntax for chords and simultaneous music have changed.
-Chords are entered as
-
-@example
- <@var{pitches}>
-@end example
-
-while simultaneous music is entered as
-
-@example
- <<@var{..music list..}>>
-@end example
-
-In effect, the meanings of both have been swapped relative to their 1.8
-definition. The syntax for lists in @code{\markup} has changed
-alongside, but figured bass mode was not changed, i.e.:
-
-@example
- \markup @{ \center <@var{..list of markups..}> @}
- \figure @{ <@var{figures}> @}
-@end example
-
-As chords the more often used than simultaneous music, this change will
-save keystrokes.
-
-@item
-Each music expression can now be tagged, to make different printed
-versions from the same music expression. In the following example,
-we see two versions of a piece of music, one for the full score, and
-one with cue notes for the instrumental part:
-
-@example
-<< \tag #'part <<
- @{ c4 f2 g4 @} % in the part, we have cue-notes
- \\ R1 >>
- \tag #'score R1 % in the score: only a rest
->>
-@end example
-
-The same can be applied to articulations, texts, etc.: they are
-made by prepending
-
-@example
- -\tag #@var{your-tags}
-@end example
-
-to an articulation, for example,
-
-@example
- c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
-@end example
-
-This defines a note, which has a conditional fingering and a
-string-number indication.
-
-@item
-The settings for chord-fingering are more flexible. You can specify a
-list where fingerings may be placed, eg.
-
-@example
- \property Voice.fingeringOrientations = #'(left down)
-@end example
-
-This will put the fingering for the lowest note below the chord, and the
-rest to the left.
-
-@item
-The script previously known as @code{ly2dvi} has been renamed to
-@code{lilypond}. The binary itself is now installed as
-@code{lilypond-bin}.
-
-@item
-Markup text (ie. general text formatting) may now be used for lyrics too.
-
-@item
-Two new commands for grace notes have been added, @code{\acciaccatura}
-and @code{\appoggiatura},
-
-@example
- \appoggiatura f8 e4
- \acciaccatura g8 f4
-@end example
-
-Both reflect the traditional meanings of acciaccatura and appogiatura,
-and both insert insert a slur from the first grace note to the main
-note.
-
-@item
-Layout options for grace notes are now stored in a context property,
-and may now be set separately from musical content.
-
-@item
-The @code{\new} command will create a context with a unique
-name automatically. Hence, for multi-staff scores, it is no longer
-necessary to invent arbitrary context names. For example, a two-staff
-score may be created by
-
-@example
- \simultaneous @{
- \new Staff @{ @var{notes for 1st staff} @}
- \new Staff @{ @var{notes for 2nd staff} @}
- @}
-@end example
-
-
-
-@item
-Octave checks make octave errors easier to correct.
-The syntax is
-
-@example
- \octave @var{pitch}
-@end example
-
-This checks that @var{pitch} (without octave) yields @var{pitch} (with
-octave) in \relative mode. If not, a warning is printed, and the
-octave is corrected.
-
-@item
-All articulations must now be entered postfix. For example,
-
-@example
- c8[( d8])
-@end example
-
-@noindent
-is a pair of beamed slurred eighth notes.
-
-@item
-The definition of @code{\relative} has been simplified. Octaves are
-now always propagated in the order that music is entered. In the
-following example,
-
-@example
- PRE
- \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
- POST
-@end example
-
-@noindent
-the octave of BODY is based on PRE, the starting octave of ALT1 on
-BODY, the starting octave of ALT2 on ALT1, and the starting octave of
-POST on ALT2.
-
-The same mechanism is used for all other music expressions, except the
-chord. Backwards compatibility is retained through a special program option,
-which is set through
-
-@example
- #(ly:set-option 'old-relative)
-@end example
-
-@item
-Windows users can double click a @code{.ly} file to process and view
-it automagically through the new @code{lily-wins} frontend.
-
-@end itemize
-
-
-
-
-@unnumbered New features in 1.8 since 1.6
-
-@itemize
-
-@item
-The chord entry code has been completely rewritten. It is now
-cleaner and more flexible.
-
-@item
-A new syntax has been added for text entry. This syntax is more
-friendly than the old mechanism, and it is implemented in a more
-robust and modular way. For more information, refer to the section on
-"Text markup" in the notation manual.
-
-@item
-The integration of the input language and Scheme has been made deeper:
-you can now use LilyPond identifiers in Scheme, and use Scheme
-expressions instead of LilyPond identifiers.
-
-@item
-The internal representation of music has been cleaned up completely
-and converted to Scheme data structures. The representation may be
-exported as XML.
-
-@item
-A new uniform postfix syntax for articulation has been introduced.
-A beamed slurred pair of eighth notes can be entered as
-
-@example
- c8-[-( d8-]-)
-@end example
-
-In version 2.0, postfix syntax will be the only syntax
-available, and the dashes will become optional.
-
-This will simplify the language: all articulations can be entered as
-postfix, in any order.
-
-@item
-A new syntax has been added for chords:
-
-
-@example
- << PITCHES >>
-@end example
-
-It is not necessary to update files to this syntax, but it will be for
-using LilyPond version 2.0. In version 2.0, this syntax will be
-changed to
-
-@example
- < PITCHES >
-@end example
-
-for chords, and
-
-@example
- \simultaneous @{ .. @}
-@end example
-
-for simultaneous music.
-
-To convert your files from <PITCHES> to <<PITCHES>>, use the script
-included in @file{buildscripts/convert-new-chords.py}.
-
-This change was introduced for the following reasons
-
-@itemize @bullet
-@item
-It solves the "start score with chord" problem, where you have to
- state \context Voice explicitly when a chord was the start of a
- Staff or Score.
-@item
-With the new syntax, it is possible to distinguish between
- articulations (or fingerings) which are for a single chord note,
- and which are for the entire chord. This allows for per-note
- fingerings, and is more logical on the whole.
-@end itemize
-
-@item
-User code may now be executed during interpreting. The syntax for
-this code is
-
-@example
- \applycontext #SCHEME-FUNCTION
-@end example
-
-@item
-User code may now be executed on arbitrary grobs during interpreting.
-The syntax for this feature is
-
-@example
- \applyoutput #SCHEME-FUNCTION
-@end example
-
-@noindent
-SCHEME-FUNCTION takes a single argument, and is called for every grob
-that is created in the current context.
-
-@item
-New algorithms for chord-name formatting have been installed. They
-can be tuned and have ergonomic syntax for entering exceptions.
-
-@item
-Texts may now be put on multimeasure rests, e.g.
-
-@example
- R1*20^\markup @{ "GP" @}
-@end example
-
-@item
-Ancient notation now prints ligatures in Gregorian square neumes
-notation, roughly following the typographical style of the Liber
-hymnarius of Solesmes, published in 1983. Ligatures are still printed
-without the proper line breaking and horizontal spacing.
-
-@item
-Glissandi can now be printed using the zigzag style.
-
-@item
-LilyPond can now print clusters. The syntax is
-
-@example
- \apply #notes-to-clusters @{ NOTE NOTE .. @}
-@end example
-
-@item
-For irregular meters, beat grouping marks can be printed. The
-syntax for this is
-
-@example
- #(set-time-signature 7 8 '(3 2 2))
-@end example
-
-
-@item
-Nested horizontal brackets for music analysis can now be printed:
-
-@example
- NOTE-\startGroup
- ..
- NOTE-\stopGroup
-@end example
-
-
-@item Ottava brackets are now fully supported as a feature. The syntax
-is
-
-@example
- #(set-octavation 1)
-@end example
-
-
-@item Metronome markings are printed when a \tempo command is processed.
-
-
-
-@item Fingerings can be put on chords horizontally.
-
-
-
-@item The appearance of various glyphs has been fine-tuned.
-
-
-
-@item Different types of percent style repeats may now be nested.
-
-
-
-@item The emacs support has been extended.
-
-
-@item
-The manual has been completely revised and extended.
-
-@end itemize
-
-@unnumbered New features in 1.6 since 1.4
-
-
-@itemize @bullet
-
-@item
-Support for figured bass and tablature.
-
-@item
-Completely rewritten beam formatting: provides much better output
-now.
-
-
-@item
-Completely revised and improved music font.
-
-
-@item
-Completely rewritten MIDI import support.
-
-@item
-Completely rewritten grace note support. Practically speaking this
-means that grace notes can be slurred to normal normal notes.
-
-
-@item
-Improved accidental handling and formatting: styles for producing
-cautionaries may vary, and complex collisions between accidentals of a
-chord are handled much better.
-
-@item
-Better spacing: both globally and locally. This includes subtle
-details like optical stem spacing.
-
-@item
-More support for ancient notation: mensural ligatures, ambitus
-(pitch range) of voices, more shapes, etc.
-
-@item
-More support for piano notation: bracket pedals, directed arpeggios,
-arpeggio brackets.
-
-@item
-Easier music polyphonic music entry.
-
-@item
-More extensibility, many speedups and bugfixes
-
-@item
-The manual has been thoroughly revised.
-
-@item
-Development is now hosted at http://savannah.gnu.org, and sources
-can be downloaded through anonymous CVS.
-
-@item
-Support for windows: LilyPond is part of the cygwin distribution,
-which comes with a user-friendly installer.
-
-@end itemize
mechanism automatically splits long notes, and ties them across bar
lines.
+Ties are sometimes used to write out arpeggios. In this case, two tied
+notes need not be consecutive. This can be achieved by setting the
+@code{tieWaitForNote} property to true. For example,
+
+@lilypond[fragment,verbatim,relative=1,raggedright]
+\set tieWaitForNote = ##t
+\grace { c16[~ e~ g]~ } <c, e g>4
+@end lilypond
+
+
@refcommands
@subsection Arpeggio
@cindex Arpeggio
-@cindex broken arpeggio
+@cindex broken chord
@cindex @code{\arpeggio}
-You can specify an arpeggio sign on a chord by attaching an
-@code{\arpeggio} to a chord
+You can specify an arpeggio sign (also known as broken chord) on a
+chord by attaching an @code{\arpeggio} to a chord
@lilypond[quote,raggedright,fragment,relative=1,verbatim]
@seealso
+Notation manual: @ref{Ties}, for writing out arpeggios.
+
Program reference: @internalsref{ArpeggioEvent},
@internalsref{Arpeggio}.
+
+
@refbugs
It is not possible to mix connected arpeggios and unconnected
--- /dev/null
+\header
+{
+
+ texidoc = "when @code{tieWaitForNote} is set, the right-tied note
+ does not have to follow the lef-tied note directly. When
+ @code{tieWaitForNote} is set to false, any tie will erase all pending
+ ties."
+
+}
+
+\version "2.5.12"
+
+\paper { raggedright = ##t }
+\relative {
+ c~ e~ g~ <c, e g>
+ \set tieWaitForNote = ##t
+ c~ e~ g~ <c, e g>
+
+ <c c'> ~
+
+ \set tieWaitForNote = ##f
+ <c e> ~
+ <c e c'>
+}
static bool has_interface (Grob*);
static void add_tie (Grob*me, Grob*);
DECLARE_SCHEME_CALLBACK (after_line_breaking, (SCM));
+ DECLARE_SCHEME_CALLBACK (before_line_breaking, (SCM));
static void set_directions (Grob*me);
- static void old_directions (Grob*me);
static void werner_directions (Grob*me);
};
static void set_interface (Grob*);
static bool has_interface (Grob*);
static void set_direction (Grob*);
- static Grob * head (Grob*, Direction) ;
+ static Grob *head (Grob*, Direction) ;
+ static int get_column_rank (Grob*, Direction);
static Real get_position (Grob*) ;
- DECLARE_SCHEME_CALLBACK (print, (SCM ));
static Direction get_default_dir (Grob*) ;
static SCM get_control_points (SCM);
+ DECLARE_SCHEME_CALLBACK (print, (SCM ));
DECLARE_SCHEME_CALLBACK (set_spacing_rods, (SCM ));
};
Object_key const *sys_key = context()->get_grob_key ("System");
pscore_->typeset_line (new System (props, sys_key));
- make_columns ();
system_ = pscore_->system_;
+ make_columns ();
system_->set_bound (LEFT, command_column_);
command_column_->set_property ("breakable", SCM_BOOL_T);
progress_indication ("[" + to_string (breaks_) + "]");
}
-
- system_->add_column (command_column_);
- system_->add_column (musical_column_);
command_column_ = 0;
musical_column_ = 0;
{
context ()->set_property ("currentMusicalColumn", new_musical->self_scm ());
}
+
+ system_->add_column (command_column_);
+ system_->add_column (musical_column_);
}
Music_output*
*/
#include "tie-column.hh"
-
+#include "paper-column.hh"
#include "spanner.hh"
#include "group-interface.hh"
#include "tie.hh"
TODO: this doesn't follow standard pattern. Regularize.
*/
void
-Tie_column::add_tie (Grob*me, Grob *s)
+Tie_column::add_tie (Grob*me, Grob *tie)
{
- if (s->get_parent (Y_AXIS)
- && Tie_column::has_interface (s->get_parent (Y_AXIS)))
+ if (tie->get_parent (Y_AXIS)
+ && Tie_column::has_interface (tie->get_parent (Y_AXIS)))
return ;
-
+
+
if (!Pointer_group_interface::count (me, ly_symbol2scm ("ties")))
{
- dynamic_cast<Spanner*> (me)->set_bound (LEFT, Tie::head (s, LEFT));
- dynamic_cast<Spanner*> (me)->set_bound (RIGHT, Tie::head (s, RIGHT));
+ dynamic_cast<Spanner*> (me)->set_bound (LEFT, Tie::head (tie, LEFT));
+ dynamic_cast<Spanner*> (me)->set_bound (RIGHT, Tie::head (tie, RIGHT));
}
- s->set_parent (me, Y_AXIS);
- Pointer_group_interface::add_grob (me, ly_symbol2scm ("ties"), s);
- s->add_dependency (me);
+
+
+ tie->set_parent (me, Y_AXIS);
+ Pointer_group_interface::add_grob (me, ly_symbol2scm ("ties"), tie);
+ tie->add_dependency (me);
}
-
void
Tie_column::set_directions (Grob*me)
{
}
/*
- See [Ross p. 138].
-
+Werner:
- In normal chord cases, the outer ties point outwards, and the
- direction of the rest is determined by their staff position.
+ . The algorithm to choose the direction of the ties doesn't work
+ properly. I suggest the following for applying ties sequentially
+ from top to bottom:
- Ross forgets about the tie that is *on* the middle staff line. We
- assume it goes UP. (TODO: make me settable) */
-void
-Tie_column::old_directions (Grob*me)
-{
- Link_array<Grob> ties =
- Pointer_group_interface__extract_grobs (me, (Grob*)0, "ties");
-
- for (int i = ties.size (); i--;)
- if (get_grob_direction (ties[i]))
- ties.del (i);
-
- if (!ties.size ())
- return ;
+ + The topmost tie is always `up'.
- Direction d = get_grob_direction (me);
- if (d)
- {
- for (int i = ties.size (); i--;)
- {
- Grob * t = ties[i];
- set_grob_direction (t, d);
- }
- return;
- }
-
- if (ties.size () == 1)
- {
- Grob * t = ties[0];
- set_grob_direction (t, Tie::get_default_dir (t));
- return;
- }
-
- ties.sort (tie_compare);
- set_grob_direction (ties[0], DOWN);
- ties.del (0);
-
- set_grob_direction (ties.pop (), UP);
- for (int i = ties.size (); i--;)
- {
- Grob * t = ties[i];
- Real p = Tie::get_position (t);
- Direction d = (Direction) sign (p);
- if (!d)
- d = UP;
- set_grob_direction (t, d);
- }
-
-}
+ + If there is a vertical gap to the last note above larger than
+ or equal to a fifth (or sixth?), the tie is `up', otherwise it
+ is `down'.
-/*
-
-% . The algorithm to choose the direction of the ties doesn't work
-% properly. I suggest the following for applying ties sequentially
-% from top to bottom:
-%
-% + The topmost tie is always `up'.
-%
-% + If there is a vertical gap to the last note above larger than
-% or equal to a fifth (or sixth?), the tie is `up', otherwise it
-% is `down'.
-%
-% + The bottommost tie is always `down'.
+ + The bottommost tie is always `down'.
- */
+*/
void
Tie_column::werner_directions (Grob *me)
{
Real last_down_pos = 10000;
if (!get_grob_direction (ties[0]))
set_grob_direction (ties[0], DOWN);
-
+
+ /*
+ Go downward.
+ */
+ Grob *last_tie = 0;
for (int i = ties.size (); i--;)
{
Grob *t = ties[i];
Real p = Tie::get_position (t);
if (!d)
{
- if (last_down_pos - p > 5)
+ if (last_tie
+ && Tie::get_column_rank (t, LEFT)
+ < Tie::get_column_rank (last_tie, LEFT))
+ {
+ d = DOWN;
+ }
+ else if (last_down_pos - p > 5)
{
d = UP;
}
if (d == DOWN)
last_down_pos = p;
+
+ last_tie = t;
}
return ;
return SCM_UNSPECIFIED;
}
-
+/*
+ Extend the spanner over its Tie constituents.
+ */
+MAKE_SCHEME_CALLBACK (Tie_column, before_line_breaking, 1);
+SCM
+Tie_column::before_line_breaking (SCM smob)
+{
+ Spanner *me = dynamic_cast<Spanner*> (unsmob_grob (smob));
+ for (SCM s = me->get_property ("ties"); scm_is_pair (s); s = scm_cdr (s))
+ {
+ Spanner *tie = dynamic_cast<Spanner*> (unsmob_grob (scm_car (s)));
+ Direction dir = LEFT;
+ do
+ {
+ if (dir * Paper_column::get_rank (tie->get_bound (dir)->get_column ())
+ > dir * Paper_column::get_rank (me->get_bound (dir)->get_column ()))
+ {
+ me->set_bound (dir, Tie::head (tie, dir));
+ }
+ }
+ while (flip (&dir) != LEFT);
+ }
+ return SCM_UNSPECIFIED;
+}
ADD_INTERFACE (Tie_column, "tie-column-interface",
"Object that sets directions of multiple ties in a tied chord",
TODO: Remove the dependency on musical info. We should tie on the
basis of position and duration-log of the heads (not of the events).
*/
+
+struct Head_event_tuple
+{
+ Grob *head_;
+ SCM tie_definition_;
+ Music *event_;
+ Head_event_tuple()
+ {
+ }
+ Head_event_tuple(Grob *h, Music *m, SCM def)
+ {
+ head_ = h;
+ event_ = m;
+ tie_definition_ = def;
+ }
+};
+
class Tie_engraver : public Engraver
{
Music *event_;
- Music *last_event_;
Link_array<Grob> now_heads_;
- Link_array<Grob> heads_to_tie_;
+ Array<Head_event_tuple> heads_to_tie_;
Link_array<Grob> ties_;
- SCM tie_start_definition_;
Spanner * tie_column_;
};
+void
+Tie_engraver::derived_mark () const
+{
+ Engraver::derived_mark ();
+ for (int i = 0; i < heads_to_tie_.size(); i++)
+ scm_gc_mark (heads_to_tie_[i].tie_definition_);
+}
Tie_engraver::Tie_engraver ()
{
event_ = 0;
- last_event_ = 0;
tie_column_ = 0;
- tie_start_definition_ = SCM_EOL;
-}
-
-void
-Tie_engraver::derived_mark () const
-{
- scm_gc_mark (tie_start_definition_);
}
now_heads_.push (h);
for (int i = heads_to_tie_.size (); i--;)
{
- Grob *th = heads_to_tie_[i];
+ Grob *th = heads_to_tie_[i].head_;
Music * right_mus = unsmob_music (h->get_property ("cause"));
Music * left_mus = unsmob_music (th->get_property ("cause"));
&& ly_c_equal_p (right_mus->get_property ("pitch"),
left_mus->get_property ("pitch")))
{
- Grob * p = new Spanner (tie_start_definition_, context()->get_grob_key ("Tie"));
- announce_grob (p, last_event_->self_scm ());
+ Grob * p = new Spanner (heads_to_tie_[i].tie_definition_,
+ context()->get_grob_key ("Tie"));
+ announce_grob (p, heads_to_tie_[i].event_->self_scm ());
Tie::set_interface (p); // cannot remove yet!
Tie::set_head (p, LEFT, th);
Tie::set_head (p, RIGHT, h);
ties_.push (p);
+ heads_to_tie_.del (i);
}
}
if (ties_.size () && ! tie_column_)
{
- tie_column_ = make_spanner ("TieColumn", SCM_EOL);
-
+ tie_column_ = make_spanner ("TieColumn", ties[0]->self_scm ());
}
if (tie_column_)
Tie_engraver::start_translation_timestep ()
{
context ()->set_property ("tieMelismaBusy",
- ly_bool2scm (heads_to_tie_.size ()));
+ ly_bool2scm (heads_to_tie_.size ()));
}
{
if (ties_.size ())
{
- heads_to_tie_.clear ();
+ if (!to_boolean (get_property ("tieWaitForNote")))
+ {
+ heads_to_tie_.clear ();
+ }
+
for (int i = 0; i< ties_.size (); i++)
{
typeset_tie (ties_[i]);
}
ties_.clear ();
- last_event_ = 0;
tie_column_ = 0;
}
if (event_)
{
- tie_start_definition_ = updated_grob_properties (context (), ly_symbol2scm ("Tie"));
- heads_to_tie_ = now_heads_;
- last_event_ = event_;
+ SCM start_definition
+ = updated_grob_properties (context (), ly_symbol2scm ("Tie"));
+
+ if (!to_boolean (get_property ("tieWaitForNote")))
+ heads_to_tie_.clear();
+
+ for (int i = 0; i < now_heads_.size(); i++)
+ {
+ heads_to_tie_.push (Head_event_tuple (now_heads_[i], event_,
+ start_definition
+ ));
+ }
}
+
event_ = 0;
now_heads_.clear ();
}
return 0;
}
+int
+Tie::get_column_rank (Grob *me, Direction d)
+{
+ Spanner *span = dynamic_cast<Spanner*> (me);
+ Grob * h = head (me, d);
+ if (!h)
+ h = span->get_bound (d);
+
+ Grob *col = dynamic_cast<Item*> (h)->get_column ();
+ return Paper_column::get_rank (col);
+}
+
Real
Tie::get_position (Grob*me)
{
if y == 0:
y = 1
- cmd = r'''gs -g%dx%d -sDEVICE=pnggray -dTextAlphaBits=4 -dGraphicsAlphaBits=4 -q -sOutputFile=%s -r%d -dNOPAUSE %s %s -c showpage -c quit ''' % \
+ cmd = r'''gs -g%dx%d -sDEVICE=png16m -dTextAlphaBits=4 -dGraphicsAlphaBits=4 -q -sOutputFile=%s -r%d -dNOPAUSE %s %s -c showpage -c quit ''' % \
(x, y, output_file, resolution, trans_ps, ps_name)
rms = glob.glob (base + '-page*.png')
if os.path.isfile (rmfile):
os.unlink (rmfile)
- cmd = r'''gs -s -sDEVICE=pnggray -dTextAlphaBits=4 -dGraphicsAlphaBits=4 -q -sOutputFile=%s -dNOPAUSE -r%d %s -c quit''' % (output_file,
+ cmd = r'''gs -s -sDEVICE=png16m -dTextAlphaBits=4 -dGraphicsAlphaBits=4 -q -sOutputFile=%s -dNOPAUSE -r%d %s -c quit''' % (output_file,
resolution, ps_name)
status = system (cmd)
takes a string number, a list of string tunings and Pitch object. It
returns the text as a string.")
+ (tieWaitForNote ,boolean? "If true, tied notes do not have to follow each other directly.
+This can be used for writing out arpeggios")
(timeSignatureFraction ,number-pair?
"pair of numbers, signifying the time
signature. For example @code{#'(4 . 4)} is a 4/4 time signature.")
(X-extent-callback . #f)
(Y-extent-callback . #f)
(print-function . ,Ledger_line_spanner::print)
+ (layer . 0)
(meta . ((interfaces . (spanner-interface ledger-line-interface))))
))
(TieColumn
. (
(after-line-breaking-callback . ,Tie_column::after_line_breaking)
+ (before-line-breaking-callback . ,Tie_column::before_line_breaking)
(X-extent-callback . #f)
(Y-extent-callback . #f)
(meta . ((interfaces . (tie-column-interface spanner-interface))))
projects / lilypond.git / commitdiff