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"ERROR: Please install required programs: guile-config < 1.9.0 (installed: 2.0.12)"
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to bump their dependencies (except those that were bumped in the last 24
hours already).
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same version of flex.
Otherwise stuff breaks in weird ways.
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Problems found locating distfiles:
Package acroread7: missing distfile AdobeReader_enu-7.0.9-1.i386.tar.gz
Package acroread8: missing distfile AdobeReader_enu-8.1.7-1.sparc.tar.gz
Package cups-filters: missing distfile cups-filters-1.1.0.tar.xz
Package dvidvi: missing distfile dvidvi-1.0.tar.gz
Package lgrind: missing distfile lgrind.tar.bz2
Otherwise, existing SHA1 digests verified and found to be the same on
the machine holding the existing distfiles (morden). All existing
SHA1 digests retained for now as an audit trail.
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having a PKGNAME of p5-*, or depending such a package,
for perl-5.22.0.
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days ago. Depend on it directly and bump PKGREVISION.
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Do it for all packages that
* mention perl, or
* have a directory name starting with p5-*, or
* depend on a package starting with p5-
like last time, for 5.18, where this didn't lead to complaints.
Let me know if you have any this time.
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until proven otherwise.
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Fix PR pkg/48777
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either because they themselves are not ready or because a
dependency isn't. This is annotated by
PYTHON_VERSIONS_INCOMPATIBLE= 33 # not yet ported as of x.y.z
or
PYTHON_VERSIONS_INCOMPATIBLE= 33 # py-foo, py-bar
respectively, please use the same style for other packages,
and check during updates.
Use versioned_dependencies.mk where applicable.
Use REPLACE_PYTHON instead of handcoded alternatives, where applicable.
Reorder Makefile sections into standard order, where applicable.
Remove PYTHON_VERSIONS_INCLUDE_3X lines since that will be default
with the next commit.
Whitespace cleanups and other nits corrected, where necessary.
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New features in 2.18 since 2.16
*******************************
* There is now a new context type called `NullVoice' which, while not
appearing in the printed output, can be used to align lyrics.
This can be particularly convenient when used in parallel with a
`\partcombine' construct.
* Several articulations can be put into a single variable or
returned from an event function.
* The baseline of score markups is now taken from the reference
point (usually the middle of the staff) of the first bottom system
rather than the top of the bounding rectangle.
* LilyPond no longer automatically infers a `\defaultchild' context
in a context definition with `\accepts' clauses. Any context
definition without an explicit or inherited `\defaultchild'
definition counts as a `Bottom' context and will be eligible for
rhythmic events and overrides without causing the implicit
creation of other contexts. Be sure to specify a `\defaultchild'
for non-`Bottom' contexts when defining them from scratch.
* There is now extensive support for both discant and bass accordion
register symbols in the `scm accreg' module.
* New commands `markLengthOn' and `markLengthOff' control the
allowance of horizontal space for tempo and rehearsal marks.
* Rehearsal marks at the beginning of a line are now placed to the
right of the clef and key signature by default. As in previous
versions, the `break-alignable-interface' controls the behavior.
* Decimal numbers can now be written directly in music, without a
hash sign. Together with the previous change in the way object
properties are specified, the code to change the length of stems
has changed from this:
\override Stem #'length = #5.6
e' f' g' a'
to this:
\override Stem.length = 5.6
e' f' g' a'
One has to write a digit on both sides of the dot - values like
`4.' or `-.3' are not allowed.
Decimal fractions are also not accepted in `\chordmode'.
* A number of shorthands like `(', `)', `|', `[', `]', `~', `\(',
`\)' and others can now freely be redefined like normal commands.
* The articulation shorthand for `\staccatissimo' has been renamed
from `-|' to `-!'.
* Tempo change ranges are now written as `\tempo 4 = 60 - 68' rather
than `\tempo 4 = 60 ~ 68'.
* Grob `OctavateEight' was renamed to `ClefModifier'. Related
context properties were renamed from `xxxOctavationyyy' to
`xxxTranspositionyyy'.
* There is a new `\absolute' command explicitly marking music as
being entered in absolute pitch. While this has been the default
previously, an explicit `\absolute' also prevents reinterpretation
when the passage is placed inside of `\relative'.
* When `\relative' is used without an explicit reference pitch, the
reference pitch now is the middle of the first octave, making the
first entered pitch indistinguishable from absolute pitch.
Previously, omitting the reference pitch would have lead to a
default of `c''. Since that choice was somewhat arbitrary,
recommended usage was to always specify the reference pitch.
* A new command `\single' can be used for converting a property
override into a tweak to be applied on a single music expression.
* Two ways of letting graphical objects not appear in the output are
overriding its `transparent' property with `#t' (retaining the
original spacing) or overriding its `stencil' property with `#f'
(not using any space at all). Those two operations now have the
shorthands `\hide' and `\omit', respectively.
* A new command `\temporary' can be applied to overrides in order to
not have them replace previous property settings. If a `\revert'
is applied to the same property subsequently, the previous setting
reappears.
This is mainly useful for writing music functions that need to
have some property changed just for the duration of the function.
* `\tag', `\removeWithTag', and `\keepWithTag' can now accept a list
of symbols rather than just a single symbol for marking, removing,
and keeping music with any of multiple tags. This is particularly
important for `\keepWithTag' since one cannot achieve the same
effect by using multiple consecutive `\keepWithTag' commands.
* The `-d old-relative' option has been removed. Not actually
accessible from the command line any more, its remaining use was
for interpretating `\relative' in LilyPond files converted
automatically from version 1.8 or older. It is unclear how much
of this was actually still operative.
* The meaning of `instrumentTransposition' has been reversed. After
\set instrumentTransposition = #{ b #}
a written `c'' now sounds like `b'. Previously, this would have
been the other way round. This and the following change should
make dealing with transposing instruments more straightforward.
* The music generated by `\set' and `\override' commands is no
longer affected by `\transpose'. The main consequence is that
`\transpose' will transpose audible/concert pitch and printed
pitch by the same amount even when the transposed music contains
`\transposition'. Previously,
\transpose c' f' \transposition bes'
was equivalent to `\transposition f''. Now it stays equivalent to
`\transposition bes''.
* When checking for collisions, LilyPond no longer treats objects as
rectangles. Instead, the actual shape of objects is approximated
using an integral-like approach. This generally results in more
even and snug positioning of objects and systems.
Affected objects include `Accidentals', `Beams', `Clefs',
`Dynamics', `FiguredBass', `Flags', `Glissandos', `Lyrics',
`MetronomeMarks', `OttavaBrackets', `Pedals', `RehearsalMarks',
`Rests', `Scripts', `TextScripts', `Ties', `Tuplets' and
`VoltaBrackets'.
* Tuplets are now created with the `\tuplet' command, which takes a
fraction `T/N' to specify that T notes are played in the time
usually allowed for N. One `\tuplet' command can create several
tuplet groups if their duration is typed after the fraction.
The `\times' command with its inverted fraction order `N/T' is
still available.
* Introducing two new markup-commands; `\draw-dashed-line' and
`\draw-dotted-line'.
The dashed-line extends to the whole length given by DEST, if
`full-length' is set to `#t' (this is the default) without any
space at the beginning or end. `off' will then be altered to fit.
To insist on the given (or default) values of `on', `off' use
`\override #'(full-length . #f)'. Manual settings for `on', `off'
and `phase' are possible.
The dotted-line always extends to the whole length given by DEST,
without any space at the beginning or end. Manual settings for
`off' are possible to get larger or smaller space between the dots.
The given (or default) value of `off' will be altered to fit the
line-length.
* Starting with version 2.17.10, error messages or the `textedit'
URI used for point-and-click functionality specify column numbers
starting with 1 rather than 0. The byte offset (also part of
`textedit' URIs) still starts at 0.
* The `\clef' command supports optional transposition.
* The LilyPond syntax of dot-separated words `Voice.Accidental' has
been made interchangeable with `#'(Voice Accidental)', a Scheme
list of symbols.
* Grob and grob property path no longer need to be specified as two
separate arguments to commands like `\override' and `\revert',
allowing for the syntax
\override Voice.TextSpanner.bound-details.left.text = "rit."
Since complementary music functions like `\overrideProperty'
cannot support forms with and without separating space at the same
time, using a single dotted path is now the preferred form.
Specifying grob path and grob property path separately, currently
still supported with `\override' and `\revert' for compatibility
reasons, is deprecated.
* Due to words now being accepted as symbol function arguments, the
interfaces of `\accidentalStyle', `\alterBroken', `\footnote' and
`\tweak' had to be redesigned where optional symbol arguments were
involved. Please check the respective music function
documentation for details.
* Several commands now accept symbol lists (conveniently entered as
dot-separated words) for various kinds of arguments. These
include `\accidentalStyle', `\alterBroken', `\footnote', `\hide',
`\omit', `\overrideProperty', `\shape', and `\tweak'.
* The bar line user interface has changed. Bar glyphs now resemble
the appearance of the bar line, so a left repeat sign has to be
coded as `.|:'. The command `\defineBarLine' provides an easy way
to define additional bar line styles.
* Accidentals in the key signature may be printed in octaves other
than their traditional positions, or in multiple octaves.
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<don@debian.org>.
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former is used. to_string is part of C++11 STL, so pick the version from
the global namespace whenever it is unclear which one is desired.
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NetBSD 6, requested by tron.
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Recursively bump package revisions again after the "freetype2" and
"fontconfig" handling was fixed.
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to address issues with NetBSD-6(and earlier)'s fontconfig not being
new enough for pango.
While doing that, also bump freetype2 dependency to current pkgsrc
version.
Suggested by tron in PR 47882
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a) refer 'perl' in their Makefile, or
b) have a directory name of p5-*, or
c) have any dependency on any p5-* package
Like last time, where this caused no complaints.
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Fixes and changes after 2.16.0
==============================
2.16.1
Please refer to the bug tracker for issues fixed in 2.16.1
(http://code.google.com/p/lilypond/issues/list?can=1&q=Fixed_2_16_1).
New features in 2.16 since 2.14
===============================
* Support for cross-staff stems on chords, using `crossStaff' and
the `Span_stem_engraver'. This calculates the length of
cross-staff stems automatically.
* The syntax of words (character sequences recognized without
enclosing quotes) and commands (now always a backslash `\'
followed by a word) has been unified across all modes: it now
consists of alphabetic characters, possibly enclosing isolated
dashes `-' and underlines `_'.
As one consequence, using unquoted text scripts like (literally!)
{ c-script c\f_script }
will now tend to result in invalid music. Omitting quote marks
for arbitrary text rather than keywords has never been good
practice or even documented, and it is unlikely to have seen
significant use.
Staying with established conventions (like not using dashes or
underlines for command names intended to be used inside of music)
remains advisable. The reason for this change is more robust
recognition of LilyPond's lexical units for LilyPond itself as
well as external tools interpreting its syntax.
* Support for Kievan square notation:
\new KievanVoice {
\cadenzaOn
c d e f g a bes
\bar "kievan"
}
* Augmentation dots now avoid the other voice in two-voice polyphony
so that users can move the `Dot_column_engraver' to set dots
independently for each `Voice'.
* A Scheme function to adjust the control points of curves such as
slurs and ties, developed by several users, is now included in
LilyPond.
g8->( bes,-.) d4
\shape Slur #'((-0.5 . 1.5) (-3 . 0) (0 . 0) (0 . 0))
g8->( bes,!-.) d4
* 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 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.
* Two alternative methods for bar numbering can be set, especially
for when using repeated music;
* 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 following three items are consequences of this change.
* The repetitive chord entry aid `q' has been reimplemented.
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.
* String numbers and right hand fingerings on single notes now appear
without having to be written inside of chord brackets.
* Music functions now work the same when used inside or outside of
chords, including all the possibilities of argument parsing.
Music variables can be used inside of chords: a construct like
tonic=fis'
{ <\tonic \transpose c g \tonic> }
now works as expected. One can use `#{...#}' for constructing
chord constituents. `\tweak' now works on single notes without
needing to wrap them in a chord. Using it on command events and
lyrics is now possible, but not likely to give results yet.
* `\tweak' now takes an optional layout object specification. It can
be used for tweaking layout objects that are only indirectly
caused by the tweaked event, like accidentals, stems, and flags:
<\tweak Accidental #'color #red cis4
\tweak Accidental #'color #green es
g>
* Scheme expressions inside of embedded Lilypond (`#{...#}') are now
executed in lexical closure of the surrounding Scheme code. `$'
is no longer special in embedded Lilypond. It can be used
unconditionally in Lilypond code for immediate evaluation of Scheme
expressions, similar to how `ly:export' could previously be used.
`ly:export' has been removed. As a consequence, `#' is now free
to delay evaluation of its argument until the parser actually
reduces the containing expression, greatly reducing the potential
for premature evaluation. There are also `splicing' operators `$@'
and `#@' for interpreting the members of a list individually.
* To reduce the necessity for using `$', Scheme expressions written
with `#' are interpreted as music inside of music lists, and as
markups or markup lists inside of markups.
* 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.
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 }
* A list of ASCII aliases for special characters can be included.
\paper {
#(include-special-characters)
}
\markup "• † ©right; &OE; &ss; ¶"
* 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.
* The alignment of dynamic spanners (hairpins, text crescendo, etc.)
is now automatically broken if a different direction is explicitly
given.
* 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.
* To suppress the line on a crescendo text spanner (and other
similar spanners), LilyPond now fully supports the `#'style =
#'none' property.
* LilyPond.app now supports MacOS X 10.7, thanks Christian Hitz!
* Glissandi can now span multiple lines.
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This way, the build progresses to a clang error.
When looking at this, consider upgrading the package to 2.16 first, perhaps
it's already fixed there.
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This problem, detected by gcc 4.6+, was fixed upstream a year ago.
Bring that patch in to fix the build.
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are called p5-*.
I hope that's all of them.
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requested by Thomas Klausner.
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(additionaly, reset PKGREVISION of qt4-* sub packages from base qt4 update)
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a) tiff update to 4.0 (shlib major change)
b) glib2 update 2.30.2 (adds libffi dependency to buildlink3.mk)
Enjoy.
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DragonFly needs devel/flex rather than USE_TOOLS+= lex in order to
build lilypond
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* Update MASTER_SITES.
Changelog:
* New scripts introduced.
* MIDI input and output are improved.
* Some notation improvements.
* Some new signs are introduced.
* Unicode Bidirectional Algorithm is fully supported.
* and so on. see NEWS.txt.
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