New features in 2.16 since 2.14
*******************************
* Use of `\tempo' specifications in `\midi' blocks (removed in
2.9.16 in favor of explicit `tempoWholesPerMinute' settings) has
seen a revival: now any kind of property-setting music is turned
into context definitions within of output specifications, allowing
for declarations like
\layout { \accidentalStyle modern }
\midi { \tempo 4. = 66 }
* 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: old version
(http://lilypond.org/doc/v2.14/Documentation/notation/the-feta-font.html#clef-glyphs),
new version
(http://lilypond.org/doc/v2.15/Documentation/notation/the-feta-font.html#clef-glyphs).
* 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:
* `beam'
* `bezier-sandwich'
* `bracket'
* `dashed-slur'
* `dot'
* `oval'
* `repeat-slash'
* `zigzag-line'
* Flags are now treated as separate objects rather than as stem
parts.
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* Two alternative methods for bar numbering can be set, especially
for when using repeated music;
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* The following is a fundamental change in LilyPond's music
representation: Rhythmic events like `LyricEvent' and `NoteEvent'
are no longer wrapped in `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
`\eventChords' or the Scheme function `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
tonic=fis'
{ <\tonic \transpose c g \tonic> }
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would have been unthinkable previously. You can use `#{...#}' for
constructing chord constituents. Music functions inside of chords
are no longer specially treated and thus accept the same arguments
as outside of chords. `\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 `\tweak' not
working according to reasonable expectations.
* As one consequence, it was possible to reimplement the repetitive
chord entry aid `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 `\chordRepeats' manually.
* Scheme expressions inside of embedded Lilypond (`#{...#}') are now
executed in lexical closure of the surrounding Scheme code. `$'
is no longer special in embedded Lilypond. It can be used
unconditionally in Lilypond code for immediate evaluation, similar
to how `ly:export' could previously be used. `ly:export' has been
removed. As a consequence, `#' is now free to delay evaluation of
its argument until the parser actually reduces the containing
expression, greatly reducing the potential for premature
evaluation.
* 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. *note Customizing chord names:
(lilypond-notation)Customizing chord names. for more information.
* The `\markuplines' command has been renamed to `\markuplist' for a
better match with its semantics and general Lilypond nomenclature.
* The interface for specifying string tunings in tablature has been
simplified considerably and employs the scheme function
`\stringTuning' for most purposes.
* Beams can now have their slopes preserved over line breaks.
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To do this, several callback functions are now deprecated.
* `ly:beam::calc-least-squares-positions'
* `ly:beam::slope-damping'
* `ly:beam::shift-region-to-valid'
Furthermore, `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 `positions' parameter.
* 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
`-3' as a number or a fingering event.
* Music functions (and their close relatives) can now be defined with
optional arguments.
* For defining commands executed only for their side-effects,
`define-void-function' is now available.
* There is a new `define-event-function' command in analogy to
`define-music-function' that can be used for defining music
functions acting as post events without requiring a direction
specifier (`-', `^', or `_') placed before them.
dyn=#(define-event-function (parser location arg) (markup?)
(make-dynamic-script arg))
\relative c' { c\dyn pfsss }
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* A list of ASCII aliases for special characters can be included.
\paper {
#(include-special-characters)
}
\markup "• † ©right; &OE; &ss; ¶"
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* There is a new `define-scheme-function' command in analogy to
`define-music-function' that can be used to define functions
evaluating to Scheme expressions while accepting arguments in
Lilypond syntax.
* The construct `#{ ... #}' can now be used not just for
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 `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.
* 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.
* New command-line option `--loglevel=LEVEL' to control how much
output LilyPond creates. Possible values are ERROR, WARN,
BASIC_PROGRESS, PROGRESS, DEBUG.
* `\once \set' now correctly resets the property value to the
previous value.
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* The alignment of dynamic spanners (hairpins, text crescendo, etc.)
is now automatically broken if a different direction is explicitly
given.
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* Appoggiaturas and acciaccaturas now also work inside a slur, not
only inside a phrasing slur. Also, a function `\slashedGrace' was
added that does not use a slur from the acciaccatura note.
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* To suppress the line on a crescendo text spanner (and other
similar spanners), LilyPond now fully supports the `#'style =
#'none' property.
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* LilyPond.app now supports MacOS X 10.7, thanks Christian Hitz!
* Glissandi can now span multiple lines.
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