From 0ee1dff8a542adf88c7f614ef2f50cf7e77663e0 Mon Sep 17 00:00:00 2001 From: James Lowe Date: Sat, 8 Feb 2014 12:33:18 +0000 Subject: [PATCH] Changes.tely updated - 2.19.x before Feb 17th 2014 Documented all new enhancements and features since 2.19.0 was released up until current master (Feb 4 2014). Contains Information for the following fixed Tracker Issues 3720, 3753, 3761, 3772, 3780, 3793, 3814, 3815, 3817, 3818, 3821, 3831 and 3835. --- Documentation/changes.tely | 152 +++++++++++++++++++++++++++++++++++++ 1 file changed, 152 insertions(+) diff --git a/Documentation/changes.tely b/Documentation/changes.tely index 19f2da0da8..1041dcd878 100644 --- a/Documentation/changes.tely +++ b/Documentation/changes.tely @@ -60,6 +60,158 @@ which scares away people. * only show user-visible changes. @end ignore +@item +A new flexible template suitable for a range of choral music, is now +provided. This may be used to create simple choral music, with or +without piano accompaniment, in two or four staves. Unlike other +templates, this template is @q{built-in}, which means it does not +need to be copied and edited: instead it is simply @code{\include}'d +in the input file. For details, see @rlearning{Built-in templates}. + +@item +The positioning of tuplet numbers for kneed beams has been significantly +improved. Previously, tuplet numbers were placed according to the +position of the tuplet bracket, even if it was not printed. This could +lead to stranded tuplet numbers. Now they are now positioned +closer to the kneed-beam when an appropriate beam segment exists for its +placement and when the the bracket is not drawn. + +Collision detection is also added, offsetting horizontally if too close +to an adjoining note column but preserving the number's vertical +distance from the kneed beam. If the number itself is too large to +fit in the available space the original, bracket-based, positioning +system is used instead; and in the event of a collision (e.g. with an +accidental) the tuplet number is moved vertically away instead. + +@lilypond[verbatim,fragment,quote,relative=1] +\time 3/4 +\override Beam.auto-knee-gap = 3 +\tuplet 3/2 4 { + g8 c'' e, + c'8 g,, e'' + g,,8 e''' c,, +} +@end lilypond + +@noindent +The original kneed-beam tuplet behavior is still available through an +@code{\override} via a new, @code{knee-to-beam} property. + +@lilypond[verbatim,fragment,quote,relative=1] +\time 3/4 +\override Beam.auto-knee-gap = 3 +\override TupletNumber.knee-to-beam = ##f +\tuplet 3/2 4 { + g8 c'' e, + c'8 g,, e'' + g,,8 e''' c,, +} +@end lilypond + +@item +@code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both +now accept the same kind of delimited argument list that @code{\lyrics} +and @code{\chords} accept. Backward compatibility has been added so +music identifiers (i.e. @code{\mus}) are permitted as arguments. A +@code{convert-ly} rule has been added that removes redundant uses of +@code{\lyricmode} and rearranges combinations with context starters such +that @code{\lyricsto} in general is applied last (i.e. like +@code{\lyricmode} would be). + +@item +Scheme functions and identifiers can now be used as output definitions. + +@item +Scheme expressions can now be used as chord constituents. + +@item +Improved visual spacing of small and regular @q{MI} Funk and Walker +noteheads so they are now the same width as other shaped notes in +their respective sets. @code{SOL} noteheads are also now visually +improved when used with both the normal Aiken and Sacred Harp heads, as +well as with the thin variants. + +@item +@code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See +@rinternals{LeftEdge}. + +@item +Added a new @code{make-path-stencil} function that supports all +@code{path} commands both relative and absolute: + +@code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto}, +@code{moveto}, @code{rmoveto}, @code{closepath}. The function also +supports @q{single-letter} syntax used in standard SVG path commands: + +@code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and +@code{z}. The new command is also backward-compatible with the original +@code{make-connected-path-stencil} function. Also see +@file{scm/stencil.scm}. + +@item +Context properties named in the @samp{alternativeRestores} property are +restored to their value at the start of the @emph{first} alternative in +all subsequent alternatives. + +Currently the default set restores @q{current meter}; + +@lilypond[verbatim,fragment,quote,relative=2] +\time 3/4 +\repeat volta 2 { c2 e4 | } +\alternative { + { \time 4/4 f2 d | } + { f2 d4 | } +} +g2. | +@end lilypond + +@noindent +@q{measure position}; + +@lilypond[verbatim,fragment,quote,relative=2] +\time 3/4 +\repeat volta 2 { c2 e4 | } +\alternative { + { \time 4/4 + \set Timing.measurePosition = #(ly:make-moment -1/2) + f2 | } + { f2 d4 | } +} +g2. | +@end lilypond + +@noindent +and @q{chord changes}; + +@lilypond[verbatim,fragment,quote] +<< + \new ChordNames { + \set chordChanges = ##t + \chordmode { c1:m d:m c:m d:m } + } + \new Staff { + \repeat volta 2 { \chordmode { c1:m } } + \alternative { + { \chordmode { d:m } } + { \chordmode { c:m } } + } + \chordmode { d:m } +} +>> +@end lilypond + +@item +Improved MIDI output for breathe marks. After tied notes, breaths take +time @emph{only} from the last note of the tie; e.g. +@code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead +of @code{@{ c4 r8 @}}. This is more consistent with articulations and +how humans interpret breaths after ties. It now also makes it easier to +align simultaneous breathe marks over multiple parts, all with different +note lengths. + +@item +A new note head style for Tabulature has been added; +@code{TabNoteHead.style = #'slash}. @item Four new Clefs have been added. @emph{Double G}, @emph{Tenor G}, -- 2.39.2